Indra AzizProducer O’Flynn, a formidable force in the contemporary electronic music scene, has released his highly anticipated third album, "Kairos," a sonic tapestry woven from his global travels and a deep-seated passion for crate-digging. The journey to this milestone release has been far from linear, marked by industry rejections and moments of self-doubt. Yet, O’Flynn’s unwavering commitment to his artistic vision and his embrace of resilience have propelled him forward, culminating in a body of work that embodies his eclectic and accessible electronic sound.
O’Flynn’s musical odyssey began at the tender age of 13, sparked by a music technology lesson that ignited a lifelong fascination. "My brain just fully latched onto it," he recalls. "It felt like there were possibilities, there was no limit to what you could do." This early immersion, in stark contrast to his academic struggles, was met with supportive parents who provided him with the necessary equipment to nurture his burgeoning talent. This foundational support has sustained his passion, a sentiment he carries into his thirties. "I have the same excitement about making music that I do now at 33 that I had at 13," he states.
His formative years were shaped by the pioneering sounds of artists such as Burial, Daft Punk, Justice, early Four Tet, and Flying Lotus. These forward-thinking electronic musicians served as catalysts, pushing O’Flynn to refine his craft. The textural depth of Burial’s "Untrue" and the innovative soundscapes of Four Tet’s "Rounds" profoundly influenced his approach, leading him to explore the nuances of texture and foley. This realization that compelling textures, coupled with robust drum patterns, could form the bedrock of captivating music marked a significant turning point.
In his late teens, O’Flynn’s sonic explorations expanded into hip-hop instrumentals, drawing inspiration from sampling masters like RJD2 and DJ Shadow. Their techniques for layering breaks and drums from vintage records with contemporary beats provided a potent shortcut to achieving dynamic and exciting sounds. This revelation spurred an investment in a turntable, opening a vast new world of sonic possibilities through the discovery of old records. This period of intense discovery laid the groundwork for his signature style, characterized by its blend of raw club energy and atmospheric ambience.
The Evolution of a Studio and a Sound
O’Flynn’s studio setup has evolved organically alongside his career. Beginning with rudimentary equipment, his arsenal expanded as he began earning income from performances. The turntable, a crucial early acquisition, became central to his sampling process. While acknowledging that some of his current gear, such as the Roland TR 1000, might be considered a luxury, he maintains a pragmatic approach, ensuring that every new acquisition is considered for its potential contribution to his creative output. This deliberate integration of tools underscores his commitment to pushing sonic boundaries.
The album "Kairos" represents a significant chapter in O’Flynn’s discography. Following his 2019 debut solo album, "Aletheia," and the collaborative project "Shimmer" with Fraser Ray, "Kairos" marks a return to his individual artistic voice. The thematic divergence from "Shimmer," an album conceived during the pandemic and reflecting a longing for club culture, is notable. "Kairos," in contrast, embodies O’Flynn’s return to the inspiration drawn from global experiences. "I don’t think I could have made a record like it during the pandemic as my inspiration comes from getting gigs in different parts of the world, travelling, meeting different people and experiencing all these cultures," he explains. This immersion in diverse environments directly fuels his creative process, injecting his music with a vibrant and authentic energy.
The creation of "Kairos" was a deliberate and unhurried endeavor, allowing ideas to manifest organically through lived experiences. This patient approach has resulted in a genre-fluid album that traverses a broad sonic spectrum. Tracks like "Sweet Love" offer a stark, hip-hop interlude with an unmistakable Arabian inflection, while "Sekete" features the captivating vocals of Swordman Kitala, an artist O’Flynn encountered in Uganda a decade prior. This juxtaposition of raw percussion, hard-hitting club sounds, and more contemplative ambient passages defines the album’s dynamic range. O’Flynn likens his albums to festivals, comprising distinct "pockets" of sound and experience, from intense late-night dancefloor anthems to immersive ambient soundscapes. This conceptual framework allows him to construct intricate sonic worlds that offer listeners a form of escapism, aiming to evoke the same emotional resonance and sense of fun found at a live festival.
Moroccan Rhythms and the Genesis of a Career
The influence of Morocco stands out as a particularly potent source of inspiration for O’Flynn. His travels through Fez, Casablanca, and Essaouira in his early twenties exposed him to vibrant musical traditions. He vividly recalls observing drum circles and women in cafes playing at around 120 bpm, a rhythmic foundation he envisioned amplifying with kick drums and basslines. This experience directly informed his early productions, leading to tracks like "Tyrion," which incorporated sampled Moroccan drums and bass, becoming a staple at pre-drinks gatherings. The O’Flynn project itself began as an endeavor to create uplifting music for such social occasions, drawing parallels to the popular sounds of artists like Dusky and Disclosure.
Another significant early production, "Desmond’s Empire," was built around a sampled vocal and accordion loop. These two tracks were pressed onto vinyl independently, a testament to O’Flynn’s and his collaborators’ early determination. However, the initial release faced significant distribution challenges. The duo resorted to physically delivering boxes of records to London’s independent record stores, often encountering lukewarm reception and offers of consignment sales. This period was marked by a youthful naivete, yet an unshakeable belief in the quality of their music. A turning point arrived when YAM Records in Peckham showed genuine enthusiasm and sold the records quickly, providing much-needed validation.
The trajectory of O’Flynn’s professional career shifted dramatically when a copy of the record reached Four Tet via the Cosmic Slop party in Leeds. Four Tet subsequently championed the track, featuring it in his sets throughout the summer, including a memorable Boiler Room performance. This exposure served as the catalyst for his burgeoning career, leading to increased bookings and a greater presence within the dance music scene. Reflecting on this period, O’Flynn notes the stark contrast between the industry’s then-reliance on physical distribution and grassroots promotion and its current digital-centric landscape. The early days were characterized by "hustling and getting the records to the right people," a far cry from today’s digital marketing strategies.
Navigating the Digital Age and the Future of Music Creation
In an era increasingly defined by the rise of Artificial Intelligence in music production, O’Flynn expresses a pragmatic skepticism. He views AI-generated music as largely lacking in originality and emotional depth. "On the whole, AI music is pretty shit," he asserts, attributing this to its derivative nature and absence of genuine human connection. While acknowledging AI’s potential in technical aspects like mixing and sound enhancement, he emphasizes that it cannot replicate the intrinsic value of the creative process itself. "There’s no soul to it," he states, criticizing the perceived lack of taste in its programming. He cites a quote from the head of Suno, who suggested that "the majority of people don’t enjoy the majority of time they spend making music," a sentiment O’Flynn strongly refutes. For him, the act of creation is a deeply personal and meditative experience, a source of purpose that transcends external validation.
O’Flynn champions the importance of human interaction and lived experience as irreplaceable elements in artistic creation, aspects AI can never replicate. He encourages aspiring musicians to embrace challenges and explore the vast landscape of sound rather than aiming solely for widespread appeal. "Make it hard for yourself and explore – you shouldn’t try and make a track people like," he advises. "Instead explore this amazing world of sound and magic, that’s when the best music comes about."
His advice for navigating the music industry is rooted in self-belief and a discerning ear. "Not everything you make will be amazing," he concedes, "but I knew we had something special, we were constantly told that we weren’t when I started off." The ability to discern valuable feedback from subjective criticism is a crucial skill. He advocates for sharing work with trusted friends, whose honest opinions can provide invaluable insights into the merit of a track. This blend of resilience, creative exploration, and a keen understanding of artistic feedback forms the bedrock of O’Flynn’s enduring presence in the electronic music world.
"Kairos" is currently available.
Words: Jim Ottewill
