Meanwhile we await a new album…

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Anthony Easton: Those opening bells are unlike anything I’ve heard in pop this year, and they just shine in those breathy spaces–it’s a bit backward looking, the synths especially, and though the topic is avoiding nostalgia, the song is terribly nostalgic. I love that, and I love that it reminds me of Bronski Beat’s “Small Town Boy.” 
[8]

Alfred Soto: Murphy, who last released an album when Hillary Clinton was going to be the next president, has settled into a one-leaked-track-a-year gentlewoman of leisure. The dance world is more ready for her than in 2007. Hot Natured’s spare early nineties is the right kind of provocation.
[7]

Katherine St Asaph: The lazy, languid twin of “Cry Baby,” down to the iced-tea stirrer production. It’s a better concept when you’re thinking in setlist terms.
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Brad Shoup: It’s like Daughter of Machine, where Carlo and Carmen Vidal’s kid turned out OK back in the city. Murphy’s melody and cadences are right there. She stares into the deep house lagoon and gets real ruminative. If you told me she recorded this on a psychiatrist’s couch, I’d buy it. A smart, smooth ride, from the bassline to the triggered choir vowels.
[9]

Jonathan Bogart: The limited emotional palette, the restricted gestures, the careful consideration of weight and texture, the precise, even finicky, approach to rhythm — all of this speaks extremely deeply to me right now. I’m tired of passion, wrung out by energy. Weightless glides on a pulsating bassline forever.
[9]

Patrick St. Michel: Anything that puts Róisín Murphy to the forefront is good in my book.
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