1989 began in much the same way as a year previous, with Murphy and Statham working on what would soon become his third album. Rehearsals with the Hundred Men began prior to recording the new tracks at a variety of studios in late April. Mixing duties were again passed off to Simon Rogers and Ian Grimble, both of whom had mixed Love Hysteria with favorable results.
What resulted from these efforts was a third solo album, Deep, an album ripe with commercial worthy singles tailored to both the mainstream and college rock radio stations. It was an album that balanced mass appeal and creativity, setting the stage for immense success without sacrificing Murphy’s creative direction.
The Line Between the Devil’s Teeth (And That Which Cannot Be Repeat) was the first track to be tempted in front of radio stations across America. With an arrangement similar in style to that of Bauhaus’s In the Flat Field, the song was immediately catchy and created a healthy buzz around Deep. The sleeve packaging for the single also revealed a change in Murphy both expected and yet unexpected – clad head to toe in all black with platinum blonde hair, a return to his Bauhaus roots.
Deep itself would be released at the end of 1989 ahead of preparations for an early 1990 US tour to support it. Interestingly, the tour would be delayed slightly and thrust a very young Nine Inch Nails into the opener slot. This seemingly odd pairing would lead to a lasting friendship between Murphy and Nine Inch Nails singer and founder Trent Reznor that would in time lead to a repaying of the favor with Bauhaus opening for Nine Inch Nails in 2006. The tour itself was a success and helped contribute to Deep’s rise to a respectable number 44 on the U.S album chart, the very first Peter Murphy solo album to do so. Deep was also the first album to credit the Hundred Men by name.