Róisín Murphy
Róisín Murphy (pronounced roe-sheen) (born 5 July 1973 in Arklow, County Wicklow, Ireland,) gained fame with Mark Brydon as the lead vocalist for UK electronic duo Moloko, formed in 1995. Murphy recorded her first official solo material in 2004 with producer Matthew Herbert, who had previously done remixes for Moloko.
She released her debut album, Ruby Blue, in June 2005 in the UK on Echo Records. "Ruby Blue" produced two singles "If We're In Love" and "Sow Into You". She released her second album Overpowered on 15 October 2007. Read Full BioRóisín Murphy (pronounced roe-sheen) (born 5 July 1973 in Arklow, County Wicklow, Ireland,) gained fame with Mark Brydon as the lead vocalist for UK electronic duo Moloko, formed in 1995. Murphy recorded her first official solo material in 2004 with producer Matthew Herbert, who had previously done remixes for Moloko.
She released her debut album, Ruby Blue, in June 2005 in the UK on Echo Records. "Ruby Blue" produced two singles "If We're In Love" and "Sow Into You". She released her second album Overpowered on 15 October 2007.
On 10 January 2008, Overpowered received a nomination for the Choice Music Prize in the Republic of Ireland; the award is given each year to an Irish artist who has proved to produce a critically acclaimed album. Also Overpowered ended at #30 on Metacritic Best of 2007 albums with a score of 82.
Her version of "Slave to Love" by Bryan Ferry is featured in the 2008 Gucci commercial starring actor James Franco. The single "Let Me Know" was produced by Groove Armada. Overpowered produced four singles: "Overpowered," "Let Me Know," "You Know Me Better" and "Movie Star."
In addition to her work with Moloko, Murphy has contributed her vocals to the works of other artists including Handsome Boy Modeling School and Boris Dlugosch, for whom she sang on the track, Never Enough, which became a huge club hit.
On 15 December 2009, Róisín gave birth to her first child; a baby girl she named Clodagh.
‘Róisín Machine’ is the next chapter of that ever unfolding, always compelling tale – a seamlessly edited, 10 years in the making collection of tracks produced in collaboration with her Sheffield pal DJ Parrot, at once her most unabashedly dance-floor ready yet deeply autobiographical work to date.
She released her debut album, Ruby Blue, in June 2005 in the UK on Echo Records. "Ruby Blue" produced two singles "If We're In Love" and "Sow Into You". She released her second album Overpowered on 15 October 2007. Read Full BioRóisín Murphy (pronounced roe-sheen) (born 5 July 1973 in Arklow, County Wicklow, Ireland,) gained fame with Mark Brydon as the lead vocalist for UK electronic duo Moloko, formed in 1995. Murphy recorded her first official solo material in 2004 with producer Matthew Herbert, who had previously done remixes for Moloko.
She released her debut album, Ruby Blue, in June 2005 in the UK on Echo Records. "Ruby Blue" produced two singles "If We're In Love" and "Sow Into You". She released her second album Overpowered on 15 October 2007.
On 10 January 2008, Overpowered received a nomination for the Choice Music Prize in the Republic of Ireland; the award is given each year to an Irish artist who has proved to produce a critically acclaimed album. Also Overpowered ended at #30 on Metacritic Best of 2007 albums with a score of 82.
Her version of "Slave to Love" by Bryan Ferry is featured in the 2008 Gucci commercial starring actor James Franco. The single "Let Me Know" was produced by Groove Armada. Overpowered produced four singles: "Overpowered," "Let Me Know," "You Know Me Better" and "Movie Star."
In addition to her work with Moloko, Murphy has contributed her vocals to the works of other artists including Handsome Boy Modeling School and Boris Dlugosch, for whom she sang on the track, Never Enough, which became a huge club hit.
On 15 December 2009, Róisín gave birth to her first child; a baby girl she named Clodagh.
‘Róisín Machine’ is the next chapter of that ever unfolding, always compelling tale – a seamlessly edited, 10 years in the making collection of tracks produced in collaboration with her Sheffield pal DJ Parrot, at once her most unabashedly dance-floor ready yet deeply autobiographical work to date.
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Overpowered
Róisín Murphy Lyrics
When I think that I'm over you
I'm overpowered
Your data, my data
The chromosomes match
Exact as in matter
A matter of fact
These amaranth feelings
A cognitive state
Need the love object
To reciprocate
When I think that I'm over you
I'm overpowered
It's long overdue
I'm overpowered
When I think that I'm over you
I'm overpowered
It's long overdue
But I'm overpowered
As science struggles on
To try to explain
Oxy-toxins flowing
Ever into my brain
As science struggles on
To try to explain
Oxy-toxins flowing
Ever into my brain
A chemical reason
If reason's your game
A chemical needing
Is there in the brain
With pre-programmed meanings
Like a little more pep
Alien feelings
We have to accept
When I think that I'm over you
I'm overpowered
It's long overdue
I'm overpowered
When I think that I'm over you
I'm overpowered
It's long overdue
I'm overpowered
As science struggles on
To try to explain
Oxy-toxins flowing
Ever into my brain
As science struggles on
To try to explain
Oxy-toxins flowing
Ever into my brain
I'm overpowered
Lyrics © BMG Rights Management, Warner Chappell Music, Inc.
Written by: MIKE PATTO, PAUL SEIJI DOLBY, ROISIN MURPHY
Lyrics Licensed & Provided by LyricFind
To comment on specific lyrics, highlight them
Carlos Quiroz
When I think that I'm over you
I'm overpowered
Your data, my data
The chromosomes match
Exact as in matter
A matter of fact
These amaranth feelings
A cognitive state
Need the love object
To reciprocate
When I think that I'm over you
I'm overpowered
It's long overdue
I'm overpowered
When I think that I'm over you
I'm overpowered
It's long overdue
But I'm overpowered
As science struggles on
To try to explain
Oxy-toxins flowing
Ever into my brain
As science struggles on
To try to explain
Oxy-toxins flowing
Ever into my brain
A chemical reason
If reason's your game
A chemical needing
Is there in the brain
With pre-programmed meanings
Like a little more pep
Alien feelings
We have to accept
When I think that I'm over you
I'm overpowered
It's long overdue
I'm overpowered
When I think that I'm over you
I'm overpowered
It's long overdue
I'm overpowered
As science struggles on
To try to explain
Oxy-toxins flowing
Ever into my brain
As science struggles on
To try to explain
Oxy-toxins flowing
Ever into my brain
I'm overpowered
Vitakinesis - Biokinesis W
So charming, so beautiful, you're so sweet Róisín.
milkbunnies
After all these years that acid bassline still rips....
Guy Stevens
The TB303 sound is ubiquitous but this is one of the best applications ever.
KaneLLo'
This bassline reminds me the track "Man Power - Renamed"
Ano Nym
@Nick Hyder Thank you
Nick Hyder
@Ano Nym it's from acid house/electro which is a 80s genre known for that squelchy melodic synthesizer known as a TB 303. So it's a positive reference
Ano Nym
Why do you call the bassline acid? Is that a positive adject in this context?
Allegra _
I cannot believe this song is 12 years old. She was way ahead of her time with her sound and innovative style. I loved her in 2007 and I love her now!
dedpxl
@robertorolfo there's room for both. I am no fan of Swift but tbh I have barely heard her music. The good thing about major pop stars like that is really the show biz attitude, the image. it's no longer about the music.
dedpxl
@drsw36 saying something is ahead of it's time is saying it is shit for it's time and would be more relevant in retrospect to another era. What, is this song more of a 2015 song?
it's a dull and generic electronic anthem. it sounds like an album track rather than a single. I don't hate it, but it sounds like I've heard it before when I haven't.
The real "ahead of their time" artists mentioned above were breaking new ground and their work holds up 40 years later. This video we're commenting on to me sound very much of it's time.
the distortion effect at a minute in is extremely tacky and out dated, people liked doing this when the technology was new but then realised it's shit.
other bits of the song, it has that sort of acid house bubbling sound. that was cool and ground-breaking in 1988, not 2007. This is a weak song that is trying to just be a generic same-as song.
It's not a bad song, but it's the same dark electro sound you had through the 2000's. It's not taking any risks like the real ground breakers do.