Performing under the name sfiiinx, Siobhra Quinlan is a real rarity in Irish music. While she finds her roots in plenty of mythology, using her music to tell spectacular tales, she takes her grounding in classical techniques, straddling the gap between contemporary chamber pop and classical performative arts.
As she works towards her LP ‘The Magma Chamber’, Quinlan joined us to reflect on her style of music and its place in modern Irish culture, and talk about new single ‘Changeling’.
“It’s fascinating to me that mythology and folklore continue to be echoed throughout popular culture, rendering time or eras irrelevant, as we find traces of ourselves or our stories in archetypes or myths,” Quinlan said. “I also find it fascinating that mythology serves as a framework for us to project the complexity, ugliness and beauty of existence onto, which appeals to me as a medium through which one can exorcise their demons.”
“‘Changeling’ is threaded together by a few different fragments. One of those is the myth of Philomela, which to me, is the most brutal and disturbing of myths. Philomela, has been raped by her sister’s husband Tereus. He then cuts out her tongue to silence her. Unable to speak, Philomela weaves the truth of what happened into a tapestry, which is how her sister learns of what has become of Philomela.”
“The myth continues to darkly tangle itself. The sisters are then liberated from their human existence, and transformed into birds – Philomela, a melodious nightingale, finally, singing freely. Woven with this thread, among other things, is also another myth of sorts in that I found out nearly a decade ago that the meaning of Síobhra is not just a “fae” but a “changeling.” Which I was initially not so cool with, but I have since embraced.”
“I’m not certain that there is a great market for this stuff in Ireland,” Quinlan says. “And I’m not entirely sure where my music will end up finding a home, but it’s not something that enters my mind when I’m creating my work. Whilst it’s certainly not the most industry-savvy approach. I’m comforted by knowing that I’m never playing to the gallery, or bending my musical language to piggyback on to a certain genre, style or audience.”