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Kinlaw Announces Debut Album + Shares Video for "Blindspot"

Today we welcome New York-based composer, choreographer and artist Kinlaw to the Bayonet roster and announce her stunning debut record The Tipping Scale, out January 22, 2021. Known for her solo works and multimedia productions, Kinlaw steps out on The Tipping Scale to showcase her work in a new light. A beautifully crafted record full of ornate flourishes, dancefloor ruminations, and airtight production The Tipping Scale is a dark pop masterpiece to move your body to.

 

To celebrate today's album announcement, we're thrilled to share Kinlaw's video for her dynamic high energy single "Blindspot." An excavation of the psychological mind, "Blindspot" brims with pop synths that arpeggiate and swell in a minor key, theatrically punctuated by tense moments of silence with only Kinlaw's focused whispering to carry the beat. Accompanied by cinematic visuals featuring original choreography, "Blindspot" shows Kinlaw grapple with memories of her child self.

Stream "Blindspot"

Pre-save or pre-order "The Tipping Scale" here

Out January 22, 2021, The Tipping Scale is a gorgeously sung cycle of songs that mix deeply personal lyrics with universal themes; Kinlaw is a smart, conceptual writer, one not afraid to explore deep emotions like loss, regret, and confusion, alongside strength, identity, and change. She explains that The Tipping Scale is an ideal metaphor for the record, the idea of an ever-present slipping in and out of change, and an acceptance of this kind of change. On it, she unravels intimate memories and tries to learn from them. As you listen to her songs and decode her words, you realize she’s not just building songs, she’s also creating a home—where painful thoughts of the past can exist within the present—as well as an entirely new, unflinching universe.

This universe she created is not metaphorical—it’s, in fact, very real. Kinlaw, who often works with gesture and movement as a writing tool, found The Tipping Scale unifying her multidisciplinary practice. She found it by building a real world. As she wrote, with the goal of finding human entry points for storytelling that felt authentic and honest to her practice, she often saw the music relating to motion. “I would start with a gesture and let it build into something until a memory attached itself to it,” She explains. “The memory would become a story and the story would reveal itself as something important that needed to be expressed in this album.” This works, too, for the lyrical process, where harder and less smooth gestures would represent consonants, and smooth, flowing movements would become vowels. She found the same thing happening with melodic lines and key changes. This is a record that jolts between the corporeal and the psychological, drawn from a flailing body, anchored by inconvenient truths.

Keep up with Kinlaw