The 8-track album is inspired by "Paris Is Burning", so you can feel the New York drag balls, their glitter and their agony. It's a tribute to the 80's culture, electronic music and sexual revolution. The Irish singer creates the conditions, where she is comfortable to express her feelings and her questions. And these conditions are deep electronic basslines ("Uninvited Guest"), disco synths ("Evil Eyes"), almost breathy vocals, retro production tools and some out of the blue Tarantino guitars ("Exile").
"Hairless Toys" is almost a dance album, but then again it's not. You could expect happy tunes, Bjork-esque aesthetics or "Overpowered" production, but then again you could not. This project is about decisions, many types of "Exploitation", problems created and problems solved and - most of all - acceptance and love of all kinds. It's a love/political album, which is weird at first. But once you listen to the lyrics, it makes sense. It's a 2015 musical revolution like the Chicago House scene, the Detroit Hip-hop and Techno scenes or even the London Glam Rock scene. It's a concept album, a landmark album, certainly her best effort to date.
There is a quality in Róisín, that has not yet been fully acknowledged. It's not about her music or her collaborations or her image or her voice or her artistry at all. It's probably something about her personality. And just because it's a mystery to us (we don't hang out with her, I mean), we will never completely understand what she is doing each and every time. But that's her beauty, too. She is like a David Lynch film - you won't get it at first, but it's also impossible not to watch it again and again.