AV Mix Series - Kin Leonn

AV Mix Series - Kin Leonn

The ambient boy from Singapore gently lulls us into a brilliant hour of sonic storytelling for the 29th entry in our mix series. Creating a comfortably open and calm mood for introspection and reflection, it's a thoroughly thought out listening experience, a result of Kin's mindfulness of scenes and flow. Just the way to cap off the year as we mentally prepare for the next loop. Light some incense, get in on the self-care and tune in to Kin Leonn.

The Analog Vault · AV029 - Kin Leonn

Hey Kin! Thanks for getting on the series, it’s been a long time coming.
How are you doing these days?

Kin Leonn: Hi! I’m doing as good as can be – thank you for having me.

You’ve been involved in some very interesting projects lately, most
recently, On Earth As It Is In Water. Can you tell us a bit more about the
inspiration behind it?

Kin Leonn: Sean Gwee and I have been discussing a collaborative project for a long time, centred around our mutual interests in ecological phenomena, magical realism, and the act of being still amidst change. We’re heavily inspired by the anime Yokohama Kadaishi Kikou, where human robots live out their last days in a postapocalyptic landscape with peace, wonder and acceptance rather than fear and strife.

For Sean and I, On Earth As It Is In Water was both a meditative and
playful attempt at creating a microcosm using landscape, sculpture and sound;
a space where these ideas can be shared with an audience, who are able to
observe from a comfortable perspective, but also play and contribute to the
space with their presence. The site text lives on here: http://

You’ve also recently been DJ-ing a bit! Saw you on the lineup for this month's Northeast Social Club party with Dexter Colt. How did you decide to
approach the gig and how did you find the experience?

Kin Leonn: I have! DJing has become an important outlet for me to relieve my more chaotic tendencies. Jordan and I literally had no plan for our B2B set – on the day itself I texted him “excited to jam!” and he was like “yeah let’s just let it rock” and that was it. It turned out pretty unhinged, but very fun at the same time. I’m grateful to be able to have played with someone as experienced as him.

Such a beautiful hour of music you’ve put together here. How did you
decide to approach this one and what was the process like? We’re also
curious about how you would describe the journey and moods you tap into,
as well as any favourite tracks in the mix.

Kin Leonn: I love putting these mixes together because I always feel like I’m putting together a soundtrack for a film, where each track dialogues with the one
before it and the one after. Its not super typical, but I *have* to use Ableton to
put these mixes together, because it allows me to have a lot more control over
the sound design and transitions. Traversing different scenes and moods while
maintaining a continuous flow is really important for me. For this mix, I liked
switching between moments of revelation or transcendental clarity – into
heavier feelings of nostalgia or melancholy.

There’s also a bunch of texturally ambiguous tracks interspersed within – which are for me, moments of phenomenal awareness that help to give a spaciousness to the whole mix. In terms of the overall process, I only really begin with a general intention and the first song. From there, I just see where the journey goes. That first song is also my favourite song of the mix I think – Nadie Sabe by Mabe Fratti. It sets the tone really nicely for the whole journey – gentle, meditative, but with inner profundity. Her whole album deserves a listen.

When planning out a mix like this, do you find there to be any similarities
with how you might approach recording an album or preparing a live set?

Kin Leonn: For sure. I approach all of these long-form sets with a continuous flow in mind. With a mix, it’s a lot more natural because it’s really all about that continuous journey. For an album or live set, there’s definitely more planning involved because I’m thinking a lot more about my own creative musical expression.

What would you like to do more in 2023?

Kin Leonn: More long-term art installations or residencies, for sure. There’s something so wonderful and meditative about the routine of coming in to the same space everyday to work slowly but surely on a big project. And if possible, working with my hands, without the distraction from a screen.

Any records on our website you’d recommend to people?

Kin Leonn: Bing & Ruth’s “No Home Of The Mind” is one heavy heavy mood.

Got anything in the pipeline for the new year we should check out?

Kin Leonn: I can’t say too much yet, but 2023 is going to be a good one.

Follow Kin Leonn:


1. Mabe Fratti – Nadie Sabe
2. Daniel Aged – Fruit 28
3. Fridge – Cut Up Piano and Xylophones
4. Masakatsu Takagi – Marginalia #107
5. Francesca Heart - A’marina
6. Sunplus – Nekoren Filtration System
7. Marina Herlop – abans abans
8. Astrid Sonne – Fields of Grass
9. Vashti Bunyan – Glow Worms
10. Shuta Hasunuma – Pierrepont
11. Dialect, Lyz Cooper – Sonic Sunrise, The Ultimate Alarm
12. Yuto Takei – Oriental Microscope
13. Yann Tiersen – Ker Yegu (Iku Sakan Remix)
14. Floraleda Sacchi – A Model Of The Universe (Jóhann Jóhannsson Cover)
15. Leo Svirsky – Trembling Instants
16. Shida Shahabi – Petula
17. Iceblink – Healer
18. Fuubutsushi – I Hold Dearly (for Miles)
19. Naliah Hunter – White Flower, Dark Hill
20. Whatever The Weather – 6°C
21. Ryuichi Sakamoto – DNA (The Cinematic Orchestra Remodel)
22. ulla - blush
23. Kelly Lee Owens – S.O (2)
24. Marco Zenker – One Thousand
25. Answer Code Request – Yes I