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Taking inspiration from films, personal experiences, and nature Penryn’s Angel Wing EP comprises of 5 tracks that range from textural garage rhythms with atmospheric melodies to sweeping ambient soundscapes.
With influences from across the spectrum of electronic music such as Burial, Tom VR, William Basinski, Ross From Friends and Eluvium, Angel Wing takes an introspective approach for a more meditative and headphone-oriented experience.
How has being part of Bristol’s electronic music scene influenced your growth as an artist?
I’ve actually only just moved here a couple of months ago, but Bristol’s scene has had a massive impact on my love for electronic music. I’ve been listening to Culprate and KOAN Sound for over a decade, and more recently, I’ve been really inspired by everything Overmono has been putting out. My first release, *A Flower Out to Sea*, was released on Redacted Records here in Bristol (massive shoutout to my friend Max, aka Throe), and that really helped me step into this scene. I’m really excited to see what I can offer to Bristol’s scene and, in turn, how that scene will shape my music.
What drew you to work with Duckland, and how has that collaboration shaped the release of Angel Wing?
I’ve been watching Duckland grow steadily for a while now. They approached me after my first release to do a single with them through their free download series, which resulted in my only dubstep tune to date, Ajar. I really wanted to work with them again, and a few months later, we started talking about a full EP release.
As far as the music goes, Dom and Rob, who run the label, gave me complete freedom to experiment. They’re both so passionate about music and are carving such a name for themselves, so I feel very lucky to be working with them during such an exciting time in their journey as a label. Duckland were instrumental when it came to the visuals for the EP as well. They make all of their visuals and music videos in-house, and they’re very good at it too. I think the EP has a strong and cohesive feel, and that was definitely borne out of our collaboration.
Do you think the UK garage and ambient scenes are becoming more interconnected, or are they still seen as separate worlds?
It depends on your perspective. Burial obviously broke ground in linking garage rhythms with ambient soundscapes, but even before that, Aphex Twin was layering the maddest electronic drumlines you’ve ever heard with sweeping tones and drones. I do think there’s something happening now where more artists are blurring those lines, creating electronic music with big drums that isn’t necessarily for the club environment. But really, mashing genres together isn’t much of a stretch if you don’t put too much stock in the idea of genres altogether.
How do you see your role within the broader Bristol music community—are you more focused on personal expression or contributing to the local scene?
That’s a difficult one for me to answer, as I’ve only just moved here and it’s such early days. I wouldn’t want to say I’ve earned a place in the community yet. But I can say that I’ve always been about personal expression. It’s the most timeless element in music; it’s the one thing that never changes.
Scenes come and go, but people will always strive to express themselves—that’s true for all art forms. There’s also what Brian Eno calls “scenius,” the idea that no artist can be called a genius in their own right. Even Burial, unique as his music is, was the product of everyone around him, like Kode9 and Four Tet. Local scenes give birth to the people we consider great. No matter the mythology surrounding an artist, it’s important to remember they are a product of something bigger than themselves.
Duckland emphasizes inclusivity. How do you approach making your music and performances feel welcoming to a diverse audience?
To me, electronic music is all about inclusivity, especially dance music. The anonymity of the dancefloor offers an open invitation to everyone—as long as you’re bringing good energy to the room, we want you here vibing with us.
There are areas of electronic music that don’t feel so open, which is a shame. With my own music, I focus on creating something I would want to listen to. After that, all I can do is hope I’ve communicated an emotion clearly enough for anyone to understand.
What’s your take on the current state of the UK underground electronic scene, and where do you see it heading?
Honestly, I think we’re in an exciting time. With help from people like Duckland, we’re seeing more small venues filled with people who genuinely love the music and are open to new sounds. It all goes in cycles, though. I remember Bournemouth used to have amazing d’n’b nights. They got so popular that the scene became flooded with people who weren’t really passionate, and now it’s hard to find good music there.
Overall, my outlook is optimistic. As long as people keep making the tunes they want to make and we keep supporting that, we can’t go far wrong.
Do you prefer creating music for intimate listening experiences, or do you see yourself moving more into club-oriented sounds in the future?
I’m mostly interested in connecting with people on a personal level. I’ve tried making more club-ready stuff in the past, but it always ends up being more melancholic and reserved. It doesn’t seem to be in my make-up—those sounds really struggle to come out of me.
That said, I love aiming for sounds I know I might not achieve. Sometimes, it’s unlistenable; other times, it’s interesting and layered. It’s like setting yourself up to fail on purpose—you never know what you’ll end up with.
What’s next for you—any plans to explore new genres, formats, or collaborations in the near future?
I’m writing new music and have a handful of tunes I’m really liking that feel like a step forward in my sound. I’m also experimenting more with pure ambient music, seeing how little I need to make a track work. I’m fascinated by pure forms of expression.
You can expect to hear both my busiest and sparsest tunes to date in the future. I’ve also got a friend who’s just finished filming her own short film, and I’ll be writing music for that. I love films, so I’m excited to explore more crossover between my love of cinema and my passion for music.
