A Letter From The Editor

KINSHIP originally landed in my inbox December 2012 when he submitted his first track, a remix of a James Blake’s ‘Measurements’.

Since then, and over the course of 2 years it’s been incredible to watch this artist blossom and grow.  
Yeah, he has only posted 5 songs in two years… But that’s an approach of quality vs quantity.
And I can guarantee you that every single one is quality. 

The Interview:

DnM: Good Afternoon Thom.

KINSHIP: It’s morning for me, haha.

DnM: Haha, Good Morning. Late night?

KINSHIP: Yeah, I went to see Reef Shark at the Biltmore. Then I came home and recorded the Mixtape.

DnM: I’ve heard they are a local talent, and thank you.

KINSHIP: The drummer and I used to play in the same band and I work with Devin, their lead singer.

DnM: I planned on bringing your non-electronic music up. But first, before we get into the thick of it. For the readers, we have two 5 degrees of Kevin bacon
First: You submitted a song after I featured a friend of your, Noble Oak.
Second: You worked with my brother

KINSHIP: Yeah, i miss working with him! And I was also in a band with Patrick from noble oak. 

DnM: Very ‘small world’.
Anyway, let’s kick things off with the boring basics. KINSHIP, where does that come from?

KINSHIP: It’s a term that I was drawn to for awhile I was recording material with my old band and things weren’t going very well everyone was pretty non-committal. I noticed that all the songs I was working on were centering on isolation and unrest. Kinship is an anthropology term for webs of social relationships and I thought about naming the record that in response to what was going on in the band but the recordings never got finished. When I started making electronic music the term was floating around I guess, and I latched on to it. Dance music brings people together.

DnM: Destruction was a form of creation then?

KINSHIP: As cheesy as that sounds, I suppose, yeah.

DnM: Cool. Now, correct me if I’m wrong, but you were a bassist and a vocalist?

KINSHIP: I played guitar and sang lead, among other random things.

DnM: This plays into what I’d like to ask next. Guitar is initially a one timbre instrument. Yes, we can factor in ‘Drop D’, and the countless pedals and effects. But it’s still a fixed sound, or timbre. When entering electronic music you and now have full control over the initial sounds and how you want to create them. There are endless possibilities.
So, how did you find that transition? How did you create your sound (imo is fairly unique)

KINSHIP: Well, thanks man there was a steep learning curve and I learn more every time I sit down to work on music. I never really had to consider rhythm before when I first started. I was pretty trapped in standard house beats so it took a while for me to get creative with my drum sounds, and making beats that were a little more playful. Now drums are probably my favourite thing to work on but I have a long way to go i listen to guys like Four Tet, where you can get lost in the intricacy of what he’s doing : I guess I just learn it through consuming more music and trying to emulate what i like

DnM: Oh my, There Is Love In You.

KINSHIP: Oh godddd, so good I had to drop some of his stuff in my mix.

DnM: Cool. I always find that’s the best to learn in music – emulation.

KINSHIP:It’s like you’re a little kid, learning to talk. You just copy grown-ups until you can come up with your own combinations of words.

DnM: Great analogy.
Now there is one other concept  that differs from Digital to Analogue production.  And I think it’s something you use really well and very evident in your most recent ‘Close Talker’ –
 the use of 3d soundspace; placement of music through panning and reverb to give that effect of the music surrounding you.

KINSHIP: For sure man when I first started making tracks I layered everything in the same stereo field because that’s what I did when I made record before and a mixing engineer would fix it but without that step, you’re left with a wall of musical mud essentially you can’t sift through and pick out individual parts you have to give everything room to breathe so theres that and also learning to use less.

DnM: K.I.S.S.?

KINSHIP: Hahah fuck yeah kiss! I was in an ‘orchestral rock’ band haha we just layered insturment after instrument when maybe it would have been better to focus on getting solid basic parts  but digital and analogue blends together for me I have elements of both in most of my tracks my new stuff is mostly samples of my own voice, snippets of guitar and hardware synths mixed with digital effects, instruments, drums and other stuff there isn’t a big difference to me

DnM: It’s really great. Your production.

KINSHIP: At the end of the day, a part is apart haha im glad!

DnM: The one other aspect, I’ll compliment, is pitch shifting. I notice the difference, between yours and others, where it’s static your pitching is very much dynamic.

KINSHIP: Oh man its a basic necessity for me my natural voice just doesnt fit well with dance music. o i have to fuck with it to get something useable hmm well im glad you think so!

DnM: I’m a little confused. You frequently use your own voice? 4/5 songs on your SC are samples. One of which is from the late 60s and set to an entirely different tone

KINSHIP: well here’s the thing i have five tracks on my soundcloud but probably 40 that are pretty much done that i haven’t put out Im really nitpicky and I doubt myself a lot so there’s a huge trove of material that i’d like to put out, but im not quite happy with it but yes, four of those tracks are remixes/samples which is something im not as excited by anymore

DnM: Too saturated?

KINSHIP:Precisely, I found that sometime i get really hyped on a track i was working on and realize that the best part was the vocal samples which is no credit to me you can take a great sample, put it over top of a track and itll still sound great but at the end of the day, people are latching on to something thats familiar and i’d rather make something that stands on its own i guess

DnM: Versus ‘safe’ production

KINSHIP: I suppose, yeah, I mean there are some incredible tracks out there that improve on the original and thats the key. But my britney remix, to me anyway, isn’t an improvement on the original, it’s just different Ican’t beat what Max Martin, or whoever produced toxic, created for her voice so i’d rather do something new with my own, or give life to a sample that could be really cool in a different setting.

DnM: You just put into your own child-like words.

KINSHIP: Exactly.

DnM: Right on. Ha alright, I’m getting hounded by my other half (who I just so happened to meet at a Noble Oak concert). So I’ve got one last question


DnM: And this is meant to be about the experience If you could do any drug, with any person past or present, who and what would it be?

KINSHIP: I’m going to disappoint you haha, I don’t take drugs or have any interest in them but…

DnM: Some choose drinks?

KINSHIP: I would have loved to be a fly on the wall at those 1920’s Parisian bars with Fitzgerald and Hemingway. Just a bourbon or something and some great conversation.

DnM: Spend a midnight in Paris?

KINSHIP: I was not a fan of that film, but that’s kind of what I’d be after I guess.

DnM: haha

KINSHIP: but don’t do drugs kids

DnM: Drugs are bad.


DnM: Thanks for your time today Thom

KINSHIP: no worries man, thanks for chatting with me enjoy the mix, and the barry manilow that creeps in at the end