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At the core of all this creative output is the passionate sincerity of Robyn’s singing voice: tremulous, anti-histrionic, powerfully direct, her unadorned sound can make you crumple into a ball of tears and feel enormously glad to be alive at the same time. Battleship dancefloor anthems of resilience like “ With Every Heartbeat,” “ Indestructible,” “ Dancing on My Own,” and “ Call Your Girlfriend” tap into distinctly Scandinavian notions of tristesse and hardscrabble perseverance they came to define the best of millennial-era, queer-friendly, emotionally trenchant dance pop. She morphed into an alternative pop diva-accessible rather than aloof, defiant rather than demure, sassy rather than staid, independent rather than establishment-and positioned herself differently from the late 2000s array of irreverent “bad girls” like Britney Spears, Lily Allen, and Amy Winehouse.īut the real secret to Robyn’s enduring appeal has always been her robust songwriting. Newly entrepreneurial (she started Konichiwa, her own record label) and self-determined à la Control-era Janet Jackson, Robyn came to epitomize the surging, dance-positive, all-markets poptimism of the 2000s. But the singer rebranded herself on 2005’s Robyn, tapping into an aggressive electro sound that mined the likes of Eurodance, dancehall, and Madonna-inspired avant-electronica.
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In spite of-or maybe because of-Robyn’s meticulousness, Honey is her most intuitive album, more freeform in song structure and experimentally produced than the pop she’s delivered before.īorn Robin Carlsson in the summer of 1979, Robyn first came to public attention in 1995: Her debut album, Robyn Is Here, positioned her as the European answer to Brandy and Monica, and featured a Top 10 hit with “ Show Me Love.” Robyn’s anxious record label shelved the global release of her sophomore 1999 album, My Truth, over concerns about abortion-themed lyrics. Robyn’s Spotify playlists, neatly organized into labeled folders and separated by month, are a reminder that she’s long been a thinking person’s pop star-sharply focused, concise, painstaking and hyper-aware (even though she claims to be a bit groggy on this particular weekend morning). Robyn wakes her computer out of sleep mode, and we dive into some of the tunes that inspired her first album in eight years, Honey-everything from the lilting disco of George McCrae to the toe-tapping bump ’n’ breeze of Vince Montana Jr.’s Goody Goody to the off-kilter alternative pop of Arthur Russell to the ambient 3 a.m. For creative inspiration, she’s pinned up an ’80s photo of Kate Bush as well as Tina Turner haughtily dressed in Mad Max Beyond Thunderdome garb. In the room, an idea board hovers above her workstation. It’s also where she writes and records some of her music. This is where Robyn takes at-home samba lessons.
#ROBYN DANCING ON MY OWN PIANO TUTORIAL FREE#
Comfy sofas and stacked plastic storage tins brimming with folded clothes give way to an intimate kitchen and an all-purpose rehearsal room with free weights and plush yoga-style mats. “It’s quite dark and dry.”Ītmospheric tranquility follows me into the first floor of her living quarters. “Plus, Swedes have a good sense of humor,” she says. While many artists run from their origins, Robyn’s never strayed far from her Swedish roots, mostly because Stockholm’s compact size allows her to be closer to nature and to get more things done on a daily basis, and because her family and some of her key musical collaborators live here too. “It’s really clean, and the air is fresh,” Robyn says, just after warmly greeting me with a hug at the door of her stately, multi-story home, just a few minutes walk from the center of the city. With sensible bridges straddling blue water from the Baltic Sea, Stockholm feels peaceful, bearing gifts of decompression for weary souls.