View the profiles of people named Róisín Waters. The Irish innovator has been putting her own spin on glittery music for two decades.

Enjoy the videos and music you love, upload original content, and share it all with friends, family, and the world on YouTube. “He owed me some money so he left me the painting,” she explained.

2 interspersed with traditional and original Irish pieces including Young Terence McDonagh, Gleanntain Ghlas Gaoith Dobhair, Danny Boy, Rosy's Air (Verity & Walters), Cooley's reel, Drowsy Maggie and Tam Lin. “I don’t believe that she’s ever tried to appease.”.

“But I [expletive] love being called a muse! She recorded “Ruby Blue” with the esoteric electronic musician Matthew Herbert. I’m already bored of my fate.” It’s also a theme mirrored perfectly in the sound of Kingdom of Ends.

“Maybe if I could be like Roxy Music or David Bowie, then yeah. At the Canetti International Violin Competition she was awarded the Composer’s Prize for her performance of Ami Maayani’s Solo Violin Sonata. “I don’t relate to the diva, although many people do relate me to the diva. An avid chamber musician, Róisín has an exciting schedule of performances and recordings as first violinist with the Liverpool String Quartet. “She’s unapologetically unique,” Jessie Ware, a longtime fan who has hosted Murphy on her popular podcast, “Table Manners,” and released her own disco-heavy album this year, wrote in an email. Murphy’s fans may concur with the sentiment.

It’s a body of work that suggests an artist successful enough to do whatever she wants: making her own happy ending, as Róisín Machine’s monologue puts it. Walters enjoys and exciting and varied career. released her own disco-heavy album this year. An avid chamber musician, Róisín has an exciting schedule of performances and recordings as first violinist with the Liverpool String Quartet.

“I don’t think I suit the world of pop stars at the moment,” she said. The former offers eight minutes during which Murphy manages to sport four different, preposterous headdresses and execute a mid-song costume change from late-80s raver in puffa jacket, beanie and KLF T-shirt into a glamorous red dress and feather boa. An unrelenting six-note bass riff keeps rising in intensity; there comes a point, three minutes in, where you become absolutely convinced a huge drop, or a dancefloor-energising kick drum is about to arrive, but the climax never comes and the bass line recedes. But as proclaimed by Murphy, a sort of singing Tilda Swinton with a Mercury Prize nomination and a genuine, enduring love for club life, it’s passionate and honest. “The thing about Róisín that really connects us musically is an understanding that a bass line and some clicking can be as emotionally affecting as a symphony orchestra, and likewise a singer doesn’t need to be crying in order to let you know that they’re sad,” DJ Parrot said in an email. Róisín Machine is as good an album as Murphy has made: like 2007’s Overpowered or 2015’s Hairless Toys, it makes her position on the margins of pop seem curious.

Damian Harris, one of the founders of her current label, Skint, was moved to tears at a London show in March.

The muse is the spark, the idea — might as well call me God as call me a muse! She is too discriminating for the mechanical big drops and woo-hoo euphoria of mainstream E.D.M., too artisanal for the slick choreographies, songwriting factories and carefully calibrated career moves of the industrial-pop complex. She was the winner of the inaugural Ernest Bloch music competition in London and first prize winner at the Stefan Milenkovich Violin Competition in Italy.

“So that’s in my blood from there, and from being into Sonic Youth, the Butthole Surfers and the Jesus and Mary Chain when I was a kid. 2 interspersed with traditional and original Irish pieces including Young Terence. In her role as Assistant Concertmaster with Britten Sinfonia recent highlights have included performances at London's Wigmore Hall, the Lincoln Centre, New York and the BBC proms. This is what we need.”. “Everybody was very forward-thinking, everybody was very modernist, everybody was looking to embrace new technology,” she said of an influential scene that fostered the Human League’s catchy electronics and Pulp’s acidic flamboyance. “I don’t think I suit the world of pop stars at the moment,” Murphy said.

The edit took off around the world — it topped Billboard’s Dance Club Songs chart in the U.S. — and she did end up on the famed BBC show. I came at music from a conceptual point of view rather than from being a trained musician, or having an ambition to be that.”. As an orchestral musician Róisín appears regularly as a guest principal with orchestras throughout the UK including the Royal Philharmonic Orchestra, BBC Symphony Orchestra, BBC National Orchestra of Wales and the Welsh National Opera. She plays on a 1916 Van Hoof violin, a copy of the Kathleen.

As winner of the Maura Dowdall Concerto Competition she was invited to perform as soloist with the RTE Concert Orchestra. She has had several concertos written for her and has given many World and European premieres of works by composers including Steve Reich, Raymond Deane and Tomas Marco. “It’s this sort of thing: ‘We’re all in this together, you’re coming with me on this journey, and it’s going to be a blast, trust me.’ Who would not take that hand?”, Harris, who was instrumental in propelling Fatboy Slim to stardom, is the latest in a long line of tastemaking accomplices. Crooked Man (born Richard Barratt), whom she’s known since she was a teenager. This song … Theirs is a pleasingly symbiotic relationship. Watching the footage of her performing her former band’s 2003 single Forever More at Glastonbury, or the videos she posted from her living room during lockdown, you can see what they mean. The one she really wants to make is about her childhood — “what I saw and the angle I saw it from,” she explained, and went on to describe being surrounded by people who had the guts “to create themselves and a new life, to take on all these things, not to let go of what’s old but to take on what’s new.”. Yet the record feels of a piece, simultaneously timely and timeless. Every few years, a rogue disco moment slips into the mainstream: Madonna’s album “Confessions on a Dance Floor.” The Abba-based film “Mamma Mia!” Daft Punk’s tune “Get Lucky.” But in 2020, disco isn’t an outlier — it’s been saturating nearly every corner of the pop universe.



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