Róisín Murphy
Overpowered

THE REVIEW

There are artists who have all the right credentials (talent, voice, and, why not, even looks) to make an impression on the general public and perpetually remain at the top of the sales or radio charts, but for inexplicable (!?) reasons must settle for being a bit more niche, occasionally enjoying some sporadic commercial success and the inevitable and well-deserved critical acclaim. Former Moloko member Róisín Murphy seems destined to be part of this not-too-small circle, although her recent contract with EMI might suggest that, perhaps, among her future intentions is to give her name greater relevance within the music business. This is also confirmed by the stylistic direction taken for her latest work, which is certainly not at opposite ends from Moloko's sound but decidedly more immediate and radio-friendly.

Overpowered is her second solo album, and even though it isn't up to the standard of the previous Ruby Blue (a very unique and beautiful electro-swing album created in collaboration with the brilliant producer/musician Mattew Herbert), it is still a great listen that deserves to wreak havoc on the European charts and beyond.
Despite the dark and hypnotic title track (somewhere between Depeche Mode and the latest Madonna, one of the best singles released this year) being somewhat misleading, those expecting another entirely dance album with syncopated and "pumped" bass might be disappointed or relieved (depending on their tastes, of course). Here, however, an attempt was made to create a middle ground, a fusion between lighter and skeletal European dance (among the many co-producers and co-authors of the album are members of Groove Armada and All Seeing I, far from the so-called French house scene) and current American r'n'b.

The eleven tracks on the album (plus the two bonus tracks) flow pleasantly and are evenly divided between dance (a bit too "bubbly" in Let Me Know, in the style of Kylie Minogue) reminiscent of the early '90s (You Know Me Better and Parallel Lives seem like the offspring of Seal's very first singles with Adamski), the electroclash of the latest Goldfrapp (among the most striking... even she couldn’t resist cloning Summer/Moroder's I Feel Love in her Cry Baby) and several soft urban-soul moments that sound exactly as if Lisa Stansfield were produced by Timbaland; two of these, Checkin' On Me and Primitive, are among the best and most enchanting moments of the album. Listening closely, only one track could have been spared, that Footprints which might seem like the work of the less successful Furtado (from her latest single). To all this, add the usual super-sexy voice that sends hormones skyrocketing, an undeniable interpretative charisma, and that "indie-friendly" attitude which, unlike many of the aforementioned colleagues, makes her decidedly more likable to the ears, and the pen, of critics and enthusiasts.