The fact she, Grace Jones and Robyn are the 'not like other gays, I'm cultured gay' go-to divas and those two don't release music at all speaks volumes.
With the last few releases she's been learning a lesson that all artists have to learn at some point, which is the balance between their artistic drives and the expectations of the people who pay for that art. Mi Senti, Toys and Monto all went full art, and her sales and exposure suffered for it.
I mean... Popjustice is one of a few blogs (Noisey, Idolator, MuuMuse, the one with the ugly logo) that are essentially gatekeepers and tastemakers for the niche audience of 30-something gays (the niche audience that actually spend money on music). A lot of our fellow homos are actually pretty lazy when it comes to new music and rely heavily on these sites (well, more their social media pages, as blogs are pretty much dead in the water in 2018). So I can see where Roisin is coming from with her frustrations.
On the flip-side, her music isn't actually notable enough to warrant their attention beyond a tweet or two. (Let's be real here, guys.)
Erm, Hairless Toys was her highest-charting solo album and was nominated for the Mercury prize. She probably never had more press, especially with the 'comeback' element.
Overpowered is her biggest solo album by a significant margin. It did at least three times the numbers that Toys did in the UK.
Yes but that's not what I said. I said highest-charting. In your earlier post you were making out that her audience completely checked out after Overpowered when that's not the case at all. Overpowered may have sold more but Hairless Toys got a lot more press and critical acclaim.
Much of the initial excitement of her return also fizzled out when people realized she’s not gonna give them another “Sing It Back” or “Overpowered” and moved on.
I don't need Overpowered part 2 but sometimes I feel like she's making 'difficult' music almost out of spite.