Róisín Murphy Albums (2)
What The Critics Say
Arty, cerebral, and sometimes downright kooky, Róisín Murphy zigs where other British pop singers zag. She's been one of pop's best-kept secrets since Moloko disbanded, edging her way toward a sound that isn't exactly mainstream but will give her the more widespread acclaim she deserves. For her first solo album, Ruby Blue, she collaborated with producer Matthew Herbert, who streamlined her sound into something creative but not gratingly quirky; even though "Rama Lama" ended up on So You Think You Can Dance, of all places, Ruby Blue wasn't quite a smash success. This time, Murphy teamed with Bugz in the Attic's Seiji, Groove Armada's Andy Cato, All Seeing I's Parrott & Dean, and Jimmy Douglass -- all forward-thinking producers, but with more conventionally pop sounds than Herbert's approach. Of course, by the late 2000s, even the most mainstream singles had at least a few unique production flourishes, so while Overpowered is without a doubt Murphy's most straightforward music yet, she hasn't sacrificed much to make it that way. With its sleek beats, bubbling synths, and nagging chorus, "Overpowered" closely resembles a state-of-the-art pop single, but the way Murphy sings of science and oxytocin over a heart-fluttering harp is unmistakably her. The rest of Overpowered follows suit, giving familiar sounds clever twists that will please longtime Murphy fans and win new ones. The effortless "You Know Me Better," "Let Me Know," and "Checkin' on Me" are chilly yet soulful, touching on disco, house, and '80s pop; "Movie Star" is Murphy's spin on Goldfrapp's glossy glam pop (and the only time she seems in danger of being overpowered by someone else's sound on the album). Even though these songs are immaculately crafted, there's plenty of life -- and Murphy's personality -- in them. "Primitive"'s synths and strings flit around like mosquitoes in a swamp as she wails "I need to let you out of your cage," while "Dear Miami"'s deadpan delivery and spare beats make it possibly the frostiest song ever written about global warming. Overpowered often feels less intimate than Ruby Blue, but that's a minor quibble, especially when "Scarlet Ribbons" shows off Murphy's tender side and the outstandingly crisp, bouncy, and sassy "Footprints" and "Body Language" rank with her best songs. Aptly enough for such a pop-focused album, nearly every song on Overpowered sounds like a potential smash hit. Even if this album is a bid for the big time, it's done with such flair that it just underscores what a confident and unique artist Murphy really is. ~ Heather Phares, All Music Guide
What The Critics Say
As brilliant as Moloko could be -- on both their most eccentric and most conventionally pop moments -- their albums never quite jelled into something as uniformly great as Roisin Murphy's solo debut, Ruby Blue. By teaming up with producer Matthew Herbert, who remixed Moloko's "Sing It Back" back in the I Am Not a Doctor days, Murphy keeps the alluring sensuality and unpredictable quirks that made Moloko unique, without sounding like she's rehashing where she's already been. Both Murphy and Herbert are artists who are equally at home with the wildest and most accessible sounds (and especially when they bring those extremes together), so their reunion on Ruby Blue feels very natural, and gives the album a smoother, more organic sound than might be expected from a debut. Herbert's concept was to build the album around Murphy -- not just her gorgeous voice, but her life as well, and Ruby Blue reflects this with his skillful, witty use of environmental sounds throughout the album. Coughing, rustling, and other studio noise become a rhythm that in turn unfolds the gorgeously summery keyboards of "Through Time," while the more literal-minded "Dear Diary" surrounds Murphy with everyday noises like ringing telephones, buzzing doorbells, and what sounds like a ball bouncing on pavement. As quirky as the album might be -- and it doesn't get much quirkier than the spring-loaded, tribal rhythms of "Rama Lama" -- Ruby Blue never feels off-putting, because its flights of fancy are in service of the songs instead of distracting from them. The mix of '20s-style hot jazz and cool synths on the surreally sexy "Night of the Dancing Flame," the title track's elegant mischief, and "Sow Into You"'s crisp layers of vocals and brass are all mini-masterpieces of avant electronic pop. Indeed, the first two-thirds of Ruby Blue are almost too smooth, too perfectly realized to be the work of someone involved with a group as eccentric as Moloko was, so more experimental, unruly tracks like "Off on It" and "Prelude to Love in the Making" almost come as a relief (and act as a palate cleanser before Ruby Blue's striking piano ballad finale, "Closing of Doors"). As Murphy herself sings on "Through Time," "Could there be such a thing as beautifully flawed?" Ruby Blue flirts with perfection and settles for being the perfect start to the next phase of Roisin Murphy's career instead. ~ Heather Phares, All Music Guide
