Stone Gods
Gig Seeker Pro

Stone Gods


Band Rock Alternative


This band has not uploaded any videos
This band has not uploaded any videos



"Roisin Murphy, Overpowered"

No one makes music quite like the Roisin Murphy. It's time, thinks Garry Mulholland, that she was granted more acclaim
5 out of 5

* Garry Mulholland
* Sunday October 14 2007

Irish chanteuse Roisin Murphy is a singular presence in 21st-century pop. Unlike your stereotypical, ultra-focused, career-obsessed modern young pop wannabe, Ms Murphy didn't particularly wanna be at all. The Wicklow-born and Manchester-raised singer hadn't sung a note when, at the age of 18, she approached a bloke she liked the look of at a Sheffield club and asked him, 'Do you like my tight sweater?' A pretty great chat-up line, all told; good enough to get her the guy (dance producer Mark Brydon), make her the lead singer of a twisted dance-pop duo called Moloko, and serve as the title of the pair's 1995 debut album. Roisin Murphy fell in love and fell into pop purely by chance. The more you fall into the lush dance-pop swirlings of this, Murphy's second solo album, the more you feel that it was pop's lucky day.

Overpowered, a sumptuous 11-track, all-killer-no-filler, electro-disco gem sees Murphy striving to get rid of her Big Hit Albatross. 'Sing it Back', you may recall, was the ubiquitous mainstream club anthem of 1999, which would have been all roses and kittens for Murphy and Brydon if it hadn't been a remix that didn't really sound like the rest of Moloko's more trippy, art-funk oeuvre.

But Roisin was always far closer in spirit to Bjork than Kylie. After a personal and professional split with Brydon, she chose to work with visionary art-jazz producer Matthew Herbert for her first solo album, 2005's Ruby Blue, on the kind of ambitious avant-pop hybrid that gets Bjork rapturous acclaim, but only got Murphy... well, a deal with EMI, at least, who thankfully recognised a genuine maverick when they heard one.

Inspired by the Eighties proto-house of D Train, Mantronix and Gwen Guthrie, but often sounding a dead-ringer for Yazoo, early Eurythmics and rave-era dance-popsters Electribe 101, Overpowered's bubbling, sensual, and soulful glitterball gems effortlessly tap into the perennial glory of feeling lost and lonely at the disco at the end of the world. If it feels like Murphy is singing about, and to, Mark Brydon on the likes of 'You Know Me Better' and 'Movie Star', then the deep beats, lush synths and subtle horns and strings provided by male producers/co-writers including Jimmy Douglass, Groove Armada's Andy Cato and Richard X work overtime to establish Murphy as sole captain of her own swish and swoony destiny.

As closing ballad 'Scarlet Ribbons' wends its gently reggae-fied way to the sweetest of endings, you realise that you've just been dreamily immersed in the best grown-up dance-pop album since Madonna's Ray of Light. Yep - that good. I hope Ireland doesn't get too offended if Britain comes to its senses and recognises Roisin Murphy as a National Treasure.

Download: 'Overpowered'; 'Tell Everybody'; 'Scarlet Ribbons'; 'Let Me Know' - The Observer (UK)

"Overpowered is a triumph"

Roísín Murphy:
[EMI; 2007]
Rating: 8.0

Roísín Murphy casts a wide net: Avant-pop aesthetes fell for Moloko's screwball trip-hop; Ibizan disco bunnies made "Sing It Back" a pop anthem; nightcrawlers found a postergirl in the booze-hound sleeve of Statues; style-mag fantasists never tire of her covers. Even Sky Sports succumbed, making "The Time Is Now" the unofficial anthem of 21st century soccer.

So why isn't she a huge star? It's a question that has likely been taxing the minds of EMI, who, to their credit, have taken a punt on Murphy after her 2005 solo debut tanked. Recorded with tech-jazz savant Matthew Herbert, Ruby Blue was a brilliantly inventive collection of cut-up pop that confounded her label and failed to find an audience. According to her new bosses, Murphy has got all that self-indulgence out of her system, and is now stepping up to the plate to make a "career record." She has the potential, they claim, to be a kind of beloved entertainer on the level of another investment of theirs, Robbie Williams.

In truth, Murphy is closer in spirit to the late Associates singer Billy Mackenzie, another maverick celtic diva torn between the arthouse, the punk club, and the disco. Mackenzie could never quite knuckle down to the career frequently promised him; one suspects Murphy won't fare any better. Her position is perfectly illustrated in Scott King's artwork for the album and singles, setting Murphy on the streets of east London, having evidently just beamed down from the planet Gaultier-- a pop peacock out of place and time in the mundane Kate Nash-ville of British pop 2007.

The record itself finds Murphy on her best behaviour, however-- wearing its natural wildness and eccentricity lightly, Overpowered is focused solely on the dancefloor. Her collaborators, from Bugz in the Attic and Groove Armada, have constructed a gleaming shrine to the spirit of Bobby O and Giorgio Moroder: The lead single and title track borrows a primordial bassline squelch from the dawn of cosmic disco-- La Bionda's "I Wanna Be Your Lover"-- and the follow-up, "Let Me Know", shamelessly plunders the chorus of Tracy Weber's 1981 classic "Sure Shot".

Murphy is the singer that the mid-00s British nu-pop of Richard X and Xenomania has so dearly missed: A dramatic yet unshowy singer, versatile enough to take in the regal hauteur of "Primitive", the cerebral chill of "Dear Miami", the randy glee of "Footprints", the chutzpah and grace of "You Know Me Better". She's funny, clever, heartbreaking, and strident, the kind of disco singer Dusty Springfield never quite had the abandon to become. At times, however, she's almost too willing to play it straight. "Movie Star" laces itself a little too tighly into Alison Goldfrapp's glam pop corset, while "Cry Baby" is stuffed to the gills with syndrums and cowhorns to the exclusion of much else. And the dubby song for her dad, "Scarlet Ribbons", is sweet but feels a little out of place. But these are quibbles. In a year of low-stakes disappointment for European pop, Overpowered is a triumph.

- Stephen Troussé, October 18, 2007
- Pitchfork


Overpowered (Album) - 15 Oct 2007

Let Me Know (Single) - 08 Oct 2007

Overpowered (Single) - 21 Jul 2007

Sow Into You (Single) - 28 Nov 2005

Ruby Blue (Album) - 02 Aug 2005

If We're in Love (Single) - 06 Jun 2005

Sequins 3 (EP) - 06 May 2005

Sequins 2 (EP) - 03 Mar 2005

Sequins 1 (EP) - 10 Feb 2005

Never Enough (Single) - 19 Apr 2003

Wonderland (Single) - 07 May 2002

Statues (moloko) 2003

Things to Make and Do (Moloko) 2000

I am not a Doctor (Moloko) 1998

Do You Like My Tight Sweater (Moloko) 1994



Roisin Murphy - Singer/Songwriter


I've moved around a bit since I was a kid. When I was twelve, my family moved to Manchester from Arklow, a small town in southern Ireland. My family drifted back to Ireland when I was 15; I stayed in Manchester,moved to Sheffield at the age of seventeen thinking I would go to Art College. Then I met Mark Brydon and we did some tracks with me kind of 'chatting' lines on them like 'Do You Like My Tight Sweater?', 'See How It Fits My Body'.Moloko was born. It freaked me out when we were asked to sign a six album deal but Mark being ever the pragmatist pointed out that, in the extremely unlikely event that we actually did get to make six albums, something would have had to go very right.

I have lived in London for a few years now. Of course I toured all six albums, mostly around Europe, though occasionally in further flung places like Australia, the US, much of eastern Europe and Russia. I've been around a bit.

I can't imagine making a record and not being totally consumed by the process, even though that might be nice. I donít expect I'll ever be completely satisfied. On this record the tracks certainly went from pillar to post, I worked along side some really great people and lots of them. I was always there, writing in Miami, London or Barcelona, additional production in Sheffield, strings in Philadelphia, mixes in New York, Jersey, Miami, Las Vegas and every studio in London with a Neve mixing desk, then back to Sterling in NYC for mastering.


Before I began collaborating on 'Overpowered', I took a trip to New York to do a PA. Danny Krivit asked me to come and sing 'Forever More', a Moloko song. It had become (three years after its release) a kind of anthem at his party. Just one Sunday a month, the '718 sessions' has taken over where 'Body and Soul' left off. Like a Northern Soul, Sunday 'all-day-er' with Vogue-ing. I sang to the FranÁoise K version; a stripped down, purely electronic remix, it exposes the architecture of the song and its pure Disco functionality. Happy sad, sad happy. I also sang 'Cannot Contain This', another song from the Moloko album 'Statues'. I wouldn't have dreamt of doing anything from my solo album 'Ruby Blue' which was current but wasn't really PA material.

I had a very good time and as if that wasn't enough, on asking Danny for a cheeky mix tape, he hands me a bundle of ten. A couple of hundred songs, some I knew and had danced to, and some I didnít. The songs with the highest play count in my ITunes were, 'Keep On' - D Train, 'Spank' - Jimmy Bo Horn, 'You're The One' - Little Sister, 'Number One' - Patrice Rushen, 'Together Forever' - Exodus, 'No Way Back' - Adonis, and the original Danny Krivit edits of 'You Got Me Running' - Lenny Williams and Diana Ross' 'No One Gets The Prize', a nine-minute opus, which was my number one most played. I also hammered Danny's edit of The Brand New Heavies 'Stay This Way'.

Other stuff that crept in would be Robert Palmer, Gwen Guthrie, Lisa Stansfield, Freeze, Mantronic, Universal Robot Band, Rene & Angela. Thereís also a smidgen of Manchester, way back when I first heard acid house and got submerged into scruffy club culture. With 'Voodoo Ray' I crossed over from being a Sonic Youth/Jesus & Mary Chain obsessive to a dancefloor aficionado because Manchester was like that; bands like ACR and the Mondays loved Kraftwerk and Marvin Gaye and 808 State loved The Stooges and Can.

I got signed to EMI because I reminded them of Robbie Williams.

(Starting the album)

When I began collecting my thoughts together and homing in on the influences that I wanted to feed into 'Overpowered' I felt the need to go back to Sheffield. I talked for a long time with Parrot, an old friend and someone I had always wanted to work with. I told him about all this old disco and house I'd been listening to and he gave me lists of more tracks he thought I should check out. We did wonder about how all this might fit into the current musical landscape, would anybody be listening? With dance music the way it was, who could be sure? Anyway, it seemed too natural not to go that way.

So I went to work with Seiji in West London, Andy Cato in Barcelona, Richard X in Hoxton and then to Miami to work with Jimmy Douglass and the boy Ill Factor, who at twenty-four manipulates the studio gear and computer plug-ins like a kid on a Nintendo; fast and with precision. Recording strings in Philadelphia (a bit of a dream for me) with Larry Gold (a legend) blew my mind. I was sending things back to Sheffield occasionally for perusal and sometimes a little tweak here and there. I also wrote a couple of songs with Parrot and his musical partner Dean Homer. 'Cry Baby' is a disco marathon of a track. Also ëScarlet Ribbon's, the only really slow tempo song Iíve written in two years, loosely interpreted in a loverís rock style by my band in London and produce