![]() ![]() (Also perhaps telling: Murphy has been her own manager for more than two years.) Naturally, the division only worsened, with some fans who felt betrayed cancelling their album preorders. When she finally commented a week later, notably she didn’t apologise for her original assertion, only the division she had sowed, and claimed she had never targeted any particular demographic. As of June, the NHS has paused their availability to young people outside exceptional circumstances and for research studies.) Murphy’s comments dismayed many within her vast LGBTQ+ fanbase, who she has embraced by performing at queer events such as Homobloc, NYC Downlow and Mighty Hoopla and aligning herself with drag culture. Puberty blockers have also long been used to stall precocious puberty in cisgender children. (A US study which followed 104 trans and non-binary youth over 12 months at a gender clinic found that those who received puberty blockers, gender-affirming hormones or both had 60% lower odds of depression and 73% lower odds of self-harm or suicidal thoughts. A screenshot of Murphy decrying puberty blockers as “big pharma laughing all the way to the bank”, expressing concern about “mixed-up kids” and characterising “Terf” as a misogynist slur in a Facebook comment was circulated online. ![]() In the last two weeks, the sincerity of that expression has become compromised for many fans. In every sense, textual and meta, Hit Parade considers what the truest expression of a feeling might be. Murphy has said that she would send her parts to the German producer, who would twist them to his whimsical but perfectionist ear, often sending back total surprise reinventions of songs they had already worked on intensively: flipping country soul to skeletal post-dubstep, unexpectedly splicing in voicemails from Murphy and clips from her goofy in-character bits on TikTok. Hit Parade has been a very long time coming: it was made over six years, mostly remotely, and finished two years ago. ![]() They’re united further by Murphy’s cosmic worldview, which perceives desire as a kind of fate, and the playfulness of producer DJ Koze, AKA Stefan Kozalla, who lavishes the record with iridescent detail, as if zooming in on dew drops in the fur of a golden labrador or delighting in the twitching aliveness of a luscious jungle. Preoccupied with unrequited desire, Hit Parade lurches recklessly between soulful rhapsodies about getting what you want and shadowy techno tracing the allure of self-sabotage, and innately understands that these apparently conflicting states are two sides of exactly the same coin. Even before the events of the last fortnight, Róisín Murphy’s sixth album teetered on the edge of danger. ![]()
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