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Lynch Kingsley


Ahead of the release of 'Void' on Inperspective Records, Organic had a chat with up and coming producer Lynch Kingsley. With releases on Alphacut, Beat Machine and Med School his music displays an aptitude for combining raw percussion and ethereal atmospherics to reflect the true nature of a musical and personal journey.

How does it feel to be back in the studio and to return with “Void” on Inperspective records?

I'm trying to get there. I'm working on transforming it into a meditative state which used to be back in my first years of making music but it kind of went away when I started taking music more seriously.

I think it's about finding that sweet spot between making the music you love, you feel doing it but at the same time having fun, doing something that put a light on your strengths in music making. It happened to me many times 2 years ago when things were going bad in that sense. I was making the music I wanted to make, but I was not having fun, it felt like a chore to me and it kind of impacted my whole production of that period, so that's why I had no music ready for 2017, personal health problems aside. I was not putting value on my musician skills and instead I was just running behind this huge idea of perfection that, as all professional producers know, doesn't even exist.

it feels great being back in the studio building a completely new mind-set day by day, it feels really amazing rediscovering the joy of making music. At the end of the day, that's what it's all about. Void took a bit of a long time because I started making it when I was not feeling well and finished it when things got a bit better, so it was part of a personal journey. Couldn't ask a better comeback than this.

That does seem like a common problem, I think it can be easy to feel disillusioned by the music scene in particular as well, creating a sort of ebb and flow. Sometimes it's necessary to step back and return with a more mindful perspective.

I'm glad to hear that you're feeling good about being back making music, it's a great feeling when that spark comes back. I think that really reflects in Void, it's so raw with that assault of breaks accompanied by ethereal atmospherics that just push and pull you in both an unrelenting and soft way.

It's more about working on yourself from my experience. You said that: it's about having a mindful perspective, finding peace within yourself, that is to say leave yourself take care of you. I struggled a lot with self-esteem throughout my whole life, so at least for me it is really hard to find a healthy approach to things in general. I'm really glad I'm finding it step by step though, I really want to keep making music, for myself and for the people who want deep and intimate music to relate to.

I agree with you, I think we can all relate to that push and pull, that's why it always seemed to me that people get more excited when they get through various phases: a slower one, then a faster one, a more euphoric one, a more dark and menacing one and so on. Many philosophers discussed about art resembling life and that's in part true. Although art doesn't only resemble but also impacts life. Void yeah, it's all about that, it goes through a lot of phases and I think it's exciting because of that, I think people can really relate to it.

That’s what’s great about the scene, there’s a strong quite intimate community who are looking for something deep within the music they hear, everyone can relate in ways, share ideas, form friendships and support each other all through this passion for music.

Yeah, I really like this part of the drum & bass community, the ones involved into the autonomic, half-time, experimental sounds. It's a very open minded and inclusive platform to share the music you love. Shame it's seen from outside like a group of grown kids on drugs who like stupidly incessant drums instead. That's what I think my generation of producers is trying to change for good, and I'm confident we will be able to do this within reasonable time.

I think that can be very frustrating, often people have this preconception of Drum and Bass being repetitive, rowdy and almost immature and the sad thing is that even many supposed music lovers and "DJs" partake in music snobbery pitting genres against each other. I agree with you I think there are many inspiring artists who are doing this in such a way that celebrates the rich history of Drum and Bass and Jungle but also innovates and pushes the music forward in such a way that can defy genres.

It can take people a while to catch on or get up to speed with it, but you can definitely see the progress we're all making.

It's more about the vibe than the speed in my opinion. It's how those rhythms are assembled together and mixed with certain things that may sound weird together at first, but that's how the genre was born and used to be and why it is so exciting for me: a mixture of many diverse genres and influences.

Let's take Source Direct for example: cinematic sounds, that is to say many samples from many movies, jazzy, smoky keys and sax sometimes dubwise bass and fx sometimes, shards of funk with the drums and technoid rhythms.

I think it's a good thing we're going back to rediscover this excitement that moved many producers and crowds during the early years. We need that to understand this genre better, destroy these pre-conceptions and then move forward.

I personally don't want to see what happened during the 2000's to repeat again, that is to say all the extremely technical and loud stuff for its own sake and put back that stigma onto it again, so move it back to very limited niches or 16 years old kids. It's an incredible genre like I said before, and maybe the only leftfield genre that is stigmatized to this point, and I think that the scene itself is partially guilty for this. But well, it's never too late to do something!

That's very true, what's great about the foundations are that many producers back in the 90s weren't classically trained musicians with much formal experience, these were people doing what they could with what they had, sampling their parents old dub and jazz records, soul, funk and hip-hop records on a sampler with limited sample time.

Some artists still really support the use of old hardware to create that 90's jungle sound with the opinion that the genre progressed almost too quickly and ended up getting too technical, with less soul and groove later in the 90s and feeding into the 2000s as you mentioned.

It's great to see that artists such as Overlook, and Kid drama are still using EMU samplers as two artists who have consistently been making innovative music over the years.

Have you got anything more planned with Inperspective for this year?

I think that technological progress is a great thing because it gives you the possibility of expressing yourself more freely, I like modern DAWs, synths and all that stuff, but it's the artists responsibility to use it wisely. Kid Drama and Overlook are great examples for sure, I'd like to buy some old piece of kit myself too!

I'm not musically trained as well, as many other producers of my generation, but you know, like I said it's all about expressing yourself and the love for the music, plus technology nowadays definitely helps a lot. The scene is definitely changing for sure, and I hope we'll keep moving forward with this kind of attitude because there's generally a good vibe going on with this music.

No Inperspective releases for now, but I have two more ready for the next months. One of them is coming out on an amazing label we all love but can't say anything for now!

Ah wicked, looking forward to the announcement of those releases. Any plans to come to the UK soon? would be great to see you booked here.

Maybe for the Metalheadz takeover at Egg, not sure still. I'd love to play there soon as well, I love the UK crowd

UK promoters take note!

INP024 – Profane/Lynch Kingsley – Drughmada x West Newton views/Void is available to pre-order now on both digital and vinyl formats.