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Street freaks: interview with Roshin Murphy
As the voice of Moloko, Roshin Murphy darted from the British club scene to the top of the pop charts in the mid-90s. The performer, with the help of her…

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Roshin Murphy: “They said that I was not a pop star. Here are the cheeks!”

Roshin Murphy is back with a new excellent album. How many years have passed? Eight from her last studio album, which was produced by a whole team of hitmakers. However, there was not a single hit on the album. But the failure of the album “Overpowered” did not become an occasion to give up. This lady is always on the move. Its genre is not accidentally called “dance pop.”

Early morning. Berlin is struggling with one of the last winter frosts and Roshin Murphy has caught a cold, but thanks to her medications she stoically holds. She is wearing a black coat and retro sneakers from the assortment of the 80s. It fits perfectly into the atmosphere of the “Monkey Bar”, related to the recreated Bikini complex (an architectural structure with cultural and historical significance – approx. Ed.) In the western part of Berlin. He is one of the few places where a DJ can play vinyl. Bring it back.

I am glad to see you again and speak with you after 8 long years. How does the return feel for you?
Oh, great. But all this time I did not sit with hands clasped. You can hear me in the compositions of Tony Christie, Boris Dlugosh, The Feeling and Crookers. But here is a different scale. I give interviews in different countries, I will go on tour again soon. I think now is the time to return.

Where does such optimism come from?
Nothing happens to me like people do. Everything happens spontaneously and comes from emotions. Even with Moloko, everything worked out by accident. I first met Mike Braydon 21 years ago, asked him if he liked the tight-fitting sweater that was worn on me and now I was standing in his studio. Ten years later, I met Matthew Herbert, who made me confident that I had a chance even without Mark.

For many people, Moloko’s “Sing It Back” and “The Time Is Now” hits are primarily associated with you. For the most part, musicians again use the formula of success, which brought them popularity when they have already passed the formation period. You are not …
Without a twinge of conscience, seize the opportunity? So neither I nor Mark would understand anything. Yes, and I’m not the kind of person who constantly asks music industry giants like Timbaland and Farrell Williams if they want to work with me. This is not for me. Yes and there is no guarantee that the result will be something sensible. I already had that experience with Tod Terry. He mixed “Sing It Back” …

They decided to work with him because his remix for “Missing” Everything But The Girl became hit?
Exactly. But there was a mix from Boris Dlugosh. Almost nobody knew him with us, but I was sure that we were dealing with a potential hit. Even on “Top Of The Pops” it was played. But the record company insisted on releasing a Terry mix because they paid £ 10,000 for it. And then the Dlugosh track became the most popular at the Miami Music Conference. Then at 10 pm I called the head of our label and begged him to withdraw Terry’s mix and publish the version of Dlugosh. You know the rest.

You, as an artist, instincts are better manifested …
This word that has meaning for me is instinct. I must trust my initial instincts, otherwise fear will swallow me.

When you were a teenager, musical addictions were different. You were a fan of indie bands like The Jesus & Mary Chain and Sonic Youth. Why has this influence never been heard in your music?
I started really interested in music when I was 15 years old. I saw Sonic Youth alive and was impressed by Kim Gordon. She wore a Kiss t-shirt and wore platform boots. She kept in touch with the public. Then I thought, “Wow, I wish I had eggs like hers.” The next day I went to a music store and exchanged two of my U2 albums for a copy of “Daydream Nation” (Sonic Youth’s fifth studio album – approx. Ed.). And off we go. I constantly bought records and went to concerts. I felt very comfortable in this rebellious atmosphere. But I never felt that I belonged to any subculture.

At that time I lived in Manchester, it was 1990, and there you could find a lot of interesting things. I went to the shops where R’n’B was played, dub and northern soul, danced for hours on end. I rarely visited “Haçienda” (a disco club that existed in 1982-1997 in Manchester – ed.), They played an acid house. Then I did not like him. It was always crowded and constantly it was possible to see types who, having adopted ecstasy, wildly waved their hands and did different stupid things.

Was it different in Sheffield, where did you later move?
Oh yes, absolutely. I felt a strong attachment to this place. People with different skin colors celebrated side by side, and sometimes together. Attitude to music was above all. My Manchester friends turned their backs on music over time, starting to write for the theater or working in the city council. In Sheffield, all the people were either musicians or concert organizers. Warp Records Rob Mitchell and his wife Michelle took me under their wing to some extent and introduced me to different people. 808 State home in

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