Róisín Murphy had never planned on being a singer. However, the echoes of that Sing it Back that made her famous with Moloko can still be heard all the way back from the 90s. Later, Róisín began a solo career of her own with which she achieved a privileged position in electronics: eclectic, experimental, daring and sometimes even misunderstood.
From a very young age she took a path that would lead her to many places: from experimental landscapes to the romantic territory of Italian ballads. Always ahead of the curve, Róisín has taken her interest in innovative designers and new talents to the stage, making her looks a fundamental part of her performances and turning herself into an icon of fashion.
As an artist, she has demonstrated excellent plasticity and has thus forged a name as legit as it is mysterious. Róisín is a clear disco reminiscence, an inevitable rhythmic flirtation and a singular force. On stage, she performs a dance pop exercise that shows her love for funk and disco. She has shared her swaggering new DJ Parrot produced single ‘Incapable’.
When times are hard for Britain, Sheffield produces brilliant electronic pop groups. The Human League in the 80s, Moloko in the early 90s… and now International Teachers of Pop, arriving ready for Brexit with a dazzling debut album and tour.
They first appeared last summer with minor-key synthpop epic Age of the Train, which they described as “Northern Rail-baiting nerd disco”. A sample of an automated station announcement (about a delay to the 13.21 to Manchester airport) graced the middle-eight, and other songs tackle modern life’s absurdities through similarly witty means. On Repeat is about the monotony of going to work in May’s Britain set to a Giorgio Moroder-style soundtrack. A Kraftwerk-like cover of Pink Floyd’s Another Brick in the Wallis, fittingly, called The Re-moaner Mix.
ITOP are Adrian Flanagan and Dean Honer (of Moonlandingz and theEccentronic Research Council), plus singer Leonore Wheatley, whose vocals give the music an iciness redolent of Ladytron. The album was written on analogue synthesisers and dusty drum machines, but the band have a shiny, contemporary vision.
From Moloko onwards, Murphy has always gravitated towards a deep groove. But here, with Baltimore maverick musician/producer/DJ Maurice Fulton, she’s gone and made some of the most hip-twitching, pleasure-centre-stimulating music of her life. And it’s being released in the only correct way for sounds so intimately connected to the dance floor: on a series of 12” singles, with stunning graphics from Portuguese New Yorker Braulio Amado.