CALL OF THE DISCO SIREN

Roisin has been described as “this adolescent century’s true art-pop queen”. The first record she can remember hearing and going, ‘Wow’ to was Ticket

to Ride by The Beatles. “It was in my ma’s collection of 45s,” she says. In her grandad’s collection of old 78s, she listened to songs like “The Last Rose of

Summer and Toselli’s Serenade,” says Roisin whose uncle, Jim Tyrrell, was a show-band and jazz musician, whom she adored. When her parents split up and moved back to Ireland, Roisin found her own “tribe” of like-minded people who shared her tastes in the music of Sonic Youth, Jesus & Mary Chain and The Velvet Underground. When Roisin was 14 and saw Sonic Youth in concert in Manchester, the next day she went down to the record exchange in Stockport and put down all of her U2 records and bought Daydream Nation by Sonic Youth with the proceeds. Formed in mid 1990s by Roisin and her then boyfriend Mark Brydon, Moloko were soon taking over the dance nation with tracks like Sing It Back and The Time

Is Now before, as The Guardian put it, they “imploded” in 2003. Statues, Moloko’s last album, was produced after the break-up with Brydon. “It felt like, maybe I’m destroying everything. Maybe I’m not going to be able to make records without him,” she said at the time. Roisin needn’t have worried. In 2005, Murphy’s first solo album Ruby Blue was flawed but intriguing; 2007’s Overpowered was even better. 2015’s Exploitation (with lyrics like “Never underestimate creative people/And the depths that they will go”) was the beauty in life she always sought. Prior to that, Mi Senti in 2014 was an EP of covers sung in Italian, a love letter to boyfriend Seb; then there was 2015’s

Hairless Toys, 2016’s Take Her Up To Monto. More recently, Roisin has released a series of self-directed videos for tracks like All My Dreams and Plaything.