Just to advise this event has now moved to the Scala venue on same date, all tickets remain valid.
Jock Nowell-Usticke once aspired to make sunny electronic music meant for summer festivals and
poolside hangs, intimate dance songs that glittered with bright-eyed wonder and smiling charm. As
an engineering student in New Zealand, he played saxophone and keys in a band but became
increasingly drawn to big-tent dance acts like Skrillex and Flume, whose production wizardry Jock
thought transcended his classically trained skillset. Shortly after downloading Ableton, however, he
released a few downtempo electronic songs under the alias BAYNK and soon garnered a large,
devoted fanbase, as well as a reputation as one of the most promising young talents in electronic
music. Now, ten years into his career, BAYNK has netted hundreds of millions of streams, sold-out
international tour dates, festival-headlining sets, and a Grammy nomination, establishing himself as a
quietly visionary artist who continues to expand his sound and aesthetic palate with each new
project.
BAYNK takes another massive leap forward on his terrific sophomore album, SENESCENCE, a
record he sees as a spiritual successor to his full-length 2021 debut, ADOLESCENCE. While the
latter reveled in the heartbreak and immediacy of youth, the former looks to the future, grappling with
themes of loss, love, death, and connection. “SENESCENCE is the other side of the coin, about time
and the passing of it and the realisations that physical life is not forever—the acute awareness of
one’s own biological vulnerability, and with that, a greater appreciation for the true richness of life.”
Such an ambitious and amorphous concept could lend itself to platitudes, BAYNK acknowledges,
but his scrupulous songwriting and deeply idiosyncratic production resists clichés. “I’m constantly
avoiding trying to sound cliché,” he says. “But the majority of the time a cliché is just how it really is.”
Across 10 songs, SENESCENCE announces itself as a daring, dynamic fusion of pop, deep house,
contemporary club, funk, and ambient; it instantly stands out as BAYNK’s most fully realised and
sonically sophisticated work to date. “It took a long time for my output to catch up with my taste,” he
said. “For a long time I felt like I was listening to as much music as I could and learning about how it
was made and its history.” If ADOLESCENCE caught BAYNK attempting “to create the perfect
festival lineup” from his youth, SENESCENCE finds him exploring the uncharted parameters of his
adult artistry, pulling inspiration from the likes of Caribou and Toro y Moi to capture gnarled moments
of anxiety, openhearted longing, and searing vulnerability with expressive textures, tempos, and
melodies.
After touring ADOLESCENCE around the world—a thrilling yet tumultuous experience, he
admits—BAYNK retreated to London in 2022 to begin working on another project. As the conceptual
framework and track list for SENESCENCE began to materialise, his ears spontaneously started
ringing for days and weeks at a time without end. He was eventually diagnosed with tinnitus, a
condition he continues to struggle with. “It just came on one day and hasn’t stopped,” he says. “At
the time I thought, ‘It’s over. I won’t be able to listen to mixes the same because I’ll constantly hear
this mosquito in my ear clashing with the frequencies.’” Learning to live with tinnitus has been
strange and painful, but BAYNK says that his brain has slowly acclimated to the unsettling sensation.
One of the key evolutions for BAYNK on SENESCENCE is his improved songwriting. “This album’s a
lot more focused on lyricism and stories as opposed to just being dance tracks,” he says. “The
songs still have the DNA of dance music, but the album is mostly concerned with love, friendship,
and death—I wanted to reflect that in the writing.” While BAYNK has always been able to distil strong
images and intense emotions in his music, his past lyrics often scanned as cue points that listeners
could project themselves onto. On SENESCENCE, he challenged himself to evoke the album’s core
themes with greater narrative precision: “I haven’t been a strong songwriter in the past or even cared
about it that much. It’s always just been melody and beat for me.” he says. “I’m now really precious
about the words in my songs. It has to mean something.”
The skittery, restless early album highlight “Fool For You” epitomises BAYNK’s ability to thread
evocative writing into electrifying production. “I don’t trust you anymore, you don’t love me like
before,” he sings in a double-timed warble over a disjointed drum loop. “I used to be the sort of
person who would obsess over people I was in relationships with. I would become a chameleon to
their needs and change myself,” he recalls. “‘Fool For You’s’ about the contortion of oneself
emotionally to make a relationship work, even when it might not.” Whether it’s the naturalistic
imagery deployed to mourn his late grandmother on “What Am I Going to Do With You” or the
celebration of romantic commitment on “Lonely World,” BAYNK’s moving descriptions meld brilliantly
with his detail-rich, assured production.
Although longtime friends and collaborators The Nicholas, Joe Mason, and Golden Vessel offer their
hand to some of SENESCENCE’s instrumentation and production, BAYNK is the only vocalist on the
album. “As much as I love collaboration, the most enticing thing for me has always been that I can
control everything,” he says. “I can have my hand in the visual, writing, singing, and producing. I love
collaboration, but you do lose a little creative freedom when someone else sings your songs.”
Making this album between London, Paris, Los Angeles, Amsterdam and Hawkes Bay, BAYNK flitted
between flats and studios, making beats and writing songs with the help of a Crumar Seven 73-Key
Electric Piano, which he played on a bulk of the album and made him “fall back in love with playing
keys.”
SENESCENCE is more stylistically varied than BAYNK’s previous projects. There’s hardly a wasted
motion, never a stray move. Beyond the stirring emotional tracks there are plenty of punchy strobe-lit
anthems that’ll satiate long-time fans. “Mr. Jocko” and “When I Think About Us” are primed to set
dancefloors on fire, especially during his upcoming tour. “The album encapsulates the experience I
want in a live show and the stories that I want to tell about my life, both now and in the future,” he
says. As is consistent with BAYNK’s oeuvre, astonishing visual content will accompany the release of
new music, including music video drops for each single. With SENESCENCE, BAYNK once again
proves his singular identity and persistent growth as an artist.