POP MUSIC REVIEW : Bowie-esque Set Stirs Murphy Mania in San Juan

Ex-Bauhaus singer Peter Murphy has long cultivated an image as an enigmatic figure, but there were times during his concert Monday at the Coach House when he was absolutely baffling. Or at least his choice of cover songs was.

Let’s put it this way: Considering that Englishman Murphy started out as a pioneer of the gothic-rock sound and now operates as a Bowie-esque crooner, even Nostradamus would probably not have predicted that he would end Monday’s show with a fairly faithful version of “Purple Rain.”

But by then, Murphy had already hurled a few sonic curve balls, especially toward the end of the evening. It wasn’t wholly surprising that he preceded “Purple Rain” with Bauhaus’ “Spirit”--it fit well there, it’s a concert favorite and Murphy had earlier dipped into that band’s catalogue, answering the question of whether he would include or sidestep Bauhaus material.

Before “Spirit,” though, he made it clear that his way of dealing with the “Bowie-esque” thang was to address it head on--with a gliding version of Bowie’s “All the Young Dudes.” This, just moments after a racing run-through of “Funtime,” an Iggy Pop tune co-written by Bowie that appears on Murphy’s new “Love Hysteria” LP.

If his selections of outside material were puzzling and plentiful, it should be emphasized that Murphy and his crack quartet are far more than just a swell cover band.

Murphy came armed with a large batch of fine originals, highly textured, keyboard-oriented soundscapes that pulsed and lurched and--in the case of some newer tunes--reflected a keener melodic sense. His more tuneful tendencies have helped widen the circle of Murphy mania: Monday’s show in the San Juan Capistrano club was sold out weeks ago, and the single “All Night Long” is popping up on many radio stations beyond KROQ.

Performing that number at the Coach House, the Thin White Dude prowled the stage, crooning coolly and projecting icy detachment, using the imaginative lighting effects to strike well-illuminated poses.

Murphy has always had a theatrical bent, which can be both a plus and a minus. He mounts probably the best-lighted stage show of any club performer around; unfortunately, his presentation also comes across as very studied, very mannered.

It’s a good thing he is pretty charismatic. If he were any less so, he would often be unbearably affected.

That’s also why it was so crucial--and great--that he kept the crowd off balance with those covers.

But Murphy hardly held exclusive rights to the evening’s surprises. His handpicked opening act, Passion Fodder, came through with some odd moments of its own, from the offhanded way the quintet began its 55-minute set to the stunning segment in which singer Theo Hakola tore up a Bible.

If this sounds like a band whose attitude seems to be “love us or hate us--just react to us,” you’re reading the message loud and clear. Passion Fodder’s music is similarly uncompromising: dark, jarring, melodically undernourished stuff that makes no effort to submerge its strong Velvet Underground influence. (A few lyrics even make Underground references.)

Even allowing for the strategic sensationalism of the Bible-shredding incident, this is clearly a band willing to take chances--and unwilling to make concessions. And therefore, a band to watch.