The cover art for Ruby Blue was painted by Simon Henwood. The songs on Ruby Blue were gradually released on limited-edition 12-inch vinyl EPs titled Sequins 1, Sequins 2 and Sequins 3, in January, February and May 2005 respectively. Murphy refused, stating that she "wanted it to be as pure as possible". The A&R division suggested that Murphy make some changes to make it more radio-friendly. When she presented them the album, they found it odd and did not hear any songs that would make successful singles. Īfter the pair had recorded a few songs, Murphy found that she enjoyed working with Herbert, and her label let her work freely without any deadline. On occasion, the two added instruments to a track by having her hire an instrumentalist, sometimes to play an unusual instrument such as a hammered dulcimer. There, Herbert recorded Murphy's voice without accompaniment so that she could better hear how her voice naturally sounded. They wanted to carry out recording and audio mixing in one room, so Herbert invested in a studio. Herbert's approach was that for Murphy to go solo, the album should revolve around her and the sounds that surround her.
During the first day of recording with Herbert, he had her bring an unspecified object so that they could hit it against a microphone and record the sound it made. Murphy had wanted to work with him again, commenting that "it felt very natural because Matthew makes things seem quicker and easier". During this time, she got to know Matthew Herbert, whom she had met when he remixed several of Moloko's songs. When she finished touring, she found herself alone and had to re-evaluate the friendships she had built. It's very simple, really - but very complicated.Murphy and Mark Brydon ended their romantic relationship but were still contractually obligated to record another album, which became Moloko's 2003 album Statues. The title originates from an Irish folk song, popularised by The Dubliners and sung to Róisín by her father - "It's me and my rhythm. 'Hairless Toys' served to ease her audience into this new phase of Murphy's career, before hitting them full force with 'Take Her Up To Monto'įlights of disco fancy, dark cabaret, the sonorities of classic house and electronica, the joy and heartbreak of pure pop, torch song drama, 'Take Up Her To Monto' has everything Murphy's always done - but seen afresh.
Five intensive weeks working alongside long term musical collaborator Eddie Stevens resulted in enough material for two albums. If 'Mi Senti' EP was a "love letter" to Murphy's creative life, then the sessions that followed were a full-blown symphony. Continuing the process of re-emergence that began with 2014's Mi Senti EP and 2015's critically acclaimed, Mercury Prize nominated album 'Hairless Toys', 'Take Her Up To Monto' is an album which crackles with wild invention.
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