Over the years he was part of Moloko, Rosin Murphy was always one of those performers and composers playing the red herring I do not mean style of the great pop figures of the mass, which build new character, aesthetics and sound with each new album (a little of that was also, of course), but the almost schizophrenic who had to transmute the same course content and each of their jobs. The first misleading singles were extracted (I think especially in the dance pop of "Sing it Back ', which gave so much joy, or in the splendid' The Time is Now ') could not be suspected at its Martian casual listener incursions genres like funk, free jazz or pop cubist cut-mail, the real bulk of his discography. The duo, which formed along his ex-partner Mark Brydon, published in 2003 Statues, a fine swan song, wrapped in lavish string arrangements and performed when the romantic relationship between them had already been broken. In this work, perhaps the most homogeneous of the band, and fell by a steeper ramp pop, and there were doubts whether Róisín Murphy begin his solo career down a slide under neon lights or if, instead, a deambularía path of stones, dust and brush wear heels.
If we advance in time and we pass his solo debut just a moment, as we shall see his second, Overpowered (2007), Murphy threw the whole hog to go to the first row of dance pop, eager to add a touch more commercial, while avoiding synthetic reach a common end or degrade his career so far. Overpowered sounds camaraderie and easy digestion, but was not sufficiently obvious to the general public, as demonstrated by not meeting the expectations of selling your company at the time, EMI. To discuss Ruby Blue it aside cuts of cellophane and dirty with charcoal. I remember
the first time I heard of Matthew Herbert . In 2002, the Arts channel, broadcast a program of Music Planet 2Nite Björk. The star played a short set, being interviewed, and chose another musician he loved to do the same. Herbert, who acted under the name Radioboy, had just released a record ( The Mechanics of Destruction ) of micro-electronics with anti-corporatist message created using sounds made from things like pants from The Gap or McDonald's bags . No need to confirm that on his arm going to create his first solo album, Róisín opted for what at the heels and the way of weeds.
Eye: my mention of dirt, weeds and bumpy roads is not a metaphor to say that elected a leadership difficult, I'm talking about texture, such as physical electronic billing Herbert, called "electronic" despite that feeds on organic sounds manipulated at will and that Ruby Blue was based on all kinds of punches, dances and improvisations interjections Róisín released during the process of writing and recording. The result of their collaboration is everything a modern pop album of the XXI century should be: adventurous, unpredictable, eclectic fun and equally solemn and thanks to that quality organic flavored clay and colored pencil point, timeless and lasting.
is a work that can be a parent with the diversity of Moloko, but well targeted and no outbursts, with a melodic style more consistent and less abstract, and the unmistakable imprint of Herbert, which focuses on environment minimalist instrumental album electronic programming and a horn section often villainous. If 'Leaving the City' serves as the introduction dissonant chaos embedded in a small metropolitan, 'Sinking Feeling' seductively on a sample rate which encourages snapped his fingers, singing on the decline with the wise and uplifting leave a '20th Century Blues'. The blues (pun intended) in its most junk-reminiscent of Tom Waits-even the clothes in 'Night of the Dancing Flame' and part owner of the album, full of palm trees, power flow and melodic clashes, doing justice to the most eccentric, carnivalesque Murphy's personality. Also highlight a couple of melancholy torch songs, only allusions to broken relationships ('Through Time' is reflective of a rate of bossa nova, "The Closing of the Doors' opts for classical piano sobriety to speak directly to the person who has broken: "Do you admit you knew before? / Closing of Doors ), but even more struck by the splendor of the most danceable: from the ignition microhouse with chorus 'Sow Into You' to concluded Neanderthals 'Ramalama (Bang Bang)' ( "Open the zipper on my body and get me your heart / I need to sequence this song" ), from the funky smooth confessional 'Dear Diary' (secret desire: "Do not send these valentines / my violets are sad / and if you do not get / no means do not think you ") to the pristine speed of 'If We're in Love', they are all pop songs irreproachable bill.
Róisín Murphy said that at present has no intention to resort to long-disk format to publicize their music. Having done what he did with this collection of songs, who need to repeat.
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