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Peter Murphy, the erstwhile frontman of Bauhaus, returns with Silver Shade, an album that feels both familiar and strangely adrift. While his distinctive croon remains a captivating element, the sonic landscape he inhabits here often feels like a diluted version of past glories, occasionally hinting at intriguing avenues without fully committing.
The cover art for The Crux, Djo’s third album, depicts a mismatched cast of puzzled guests spilling out of a hotel, staring aimlessly into the lazuli blue sky. The image is symbolic of the album’s main themes: disorientation, disconnection from one’s own identity.