Kinlaw

Sarah Kinlaw has been consistently unconventional in her experimental art pop for five years now, always adding new touches, new influences and new ideas. Unlike most other artists, she masters the subtle fine-tuning between revitalised retrofuturism and forward-thinking synthpop grandeur at every stage of production. Enjoying taking matters into her own hands, like other proponents of her craft she embarks on a path of maximum artistic autonomy, a value in itself in this AI-influenced present of the new twenties. Jenny Hval and Kelly Lee Owens, FKA Twigs and Holly Herndon, even hints of Björk’s late phase were discernible on her brilliantly textured debut “The Tipping Scale” (2021), an album that turned the heads of even the worst snobs in art-spoilt New York shortly after its release - and rightly so, as the US music press subsequently found. Now this year, the follow-up album ‘Gut Ccheck’ (2025) is out, with Kinlaw going two steps further and meshing soundtrack vibes with post-industrial aesthetics. It is erratic, urgent music for a western world that can visualise the end of the world rather than a cultural rethink. This is precisely why Kinlaw’s art is more important than ever.