Roisin Murphy

There was a time in her evolution when Róisín Murphy turned our heads with her avant-garde disco outlook, it carried us through an exciting period in openly embracing electronic diversity within the considered culture of it all and perfectly played to Róisín’s unorthodox slant upon her art, being the biggest draw of all.

You’re probably aware that our go to queen of forward thinking electronic redress has a new album on the shelves, the curiously titled “Hairless Toys” and whilst we just remain blown out of town by Róisín’s overall artistry in all things, the album as a whole consumption hasn’t been so readily digestible for us to connect with as with Róisín’s previous works.

Evil Eyes” however, does lead us unto some distinctively succinct chartered waters within Róisín’s experimental re-alignment on “Hairless Toys”, which oversees this track’s aesthetic placement saunter through with a chic voguish distinction seeping through a funked up bass line upwards till it glints with the unparalleled shimmer dusted from shards of mirrorball encrusted glitter.

The subject matter revels in a theme representing the considered role of being a wife and mother, and the expectation of adhering to these inherent roles in life which by their own innate design alone might in these modern of times, seek to shutter in the ‘real’ persona behind, well at least it does so convincingly in the case of this female lead played out by Róisín in this cinematic video she also directed.

Actually, to put another spin on it, in some way I’m seeing the whole “Evil Eyes” aesthetic package through the throwback vibes of the often overseen Eurythmics classic cut Beethoven (I Love to Listen To). Rewind, check it out! Both tracks based on the same principle and both executed with the utmost flair of creative direction.

That’s female integrity proving point right there!