It was the end of the 1970s, and the British music scene was in the middle of a renaissance. Punk rock had outlived its novelty, and genres like new romanticism, goth, and twee were far from the lexicon of music journalism. It was all postpunk.
“They called us postpunks, but we were archigans,” Murphy says in an allusion to the band’s interest in the archaic. “Bauhaus were archigans, or I was an archigan. I was never a punk. I was never a postpunk. I was already formed. I would say I was a dandy poet, appreciating the romantic but not at all new romantic.”
Murphy speaks for himself when he talks about the influences he brought to the band. “Kraftwerk were among my influences, very early on,” he says, “and of course, early [David] Bowie. I was very much into [Brian] Eno’s stuff, very early Eno work, the ambient stuff, Taking Tiger Mountain, seminal works that really informed music. This is my school, really. This is where I’m from.”