Influences Playlist: Kynsy

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When we first tipped Irish indie rocker Kynsy as one to watch in 2021, she had just released her debut EP Things That Don’t Exist, a raucous five tracks woven together with threads of effervescent alt-pop and rip-roaring indie rock. A year later, she dropped her clamorous yet melodic sophomore EP Something To Do With Love, dipping her toes into synth-pop without sacrificing her signature buzzing-til-they-bore-into-your-brain guitars.

Kynsy’s new EP Utopia is her shortest yet (four tracks, just under 15 minutes), but also her most cohesive due to the gloriously guitar-forward sound. This is a good old-fashioned rock n’ roll record, through and through. Released via Nice Swan Records, who previously worked with English Teacher and fellow Irish act Sprints, Utopia sees Kynsy in a state of reflection. “This EP is a journey through the tumultuous landscapes of self-discovery and emotional liberation,” Kynsy explains. “Each track explores the struggles of breaking free from toxic influences, confronting personal demons, and ultimately finding empowerment.”

Blistering, in-your-face guitar shocks the listener awake on “Body,” and the visceral sound mirrors the physical sensations Kynsy sings about—the aching, overwhelming thirst for transformation: “But my mindset don’t change / But I know my body feels it / My body needs it.” The title track saunters in with a hypnotic, grunge-influenced grace. The dreaminess of the verses gives way to a geyser of guitar and Kynsy’s searing vocals on the chorus as she cries: “Utopia and me / I’m crying but I’m free.” “Stereo Games” ruminates on the dark side of infatuation while also serving up some chugging bass and robust, ‘70s-style guitar. Kynsy snarls with Joan Jett-esque attitude, sarcasm and vitriol dripping from every line as she proclaims: “I am the devil who came in and stole your heart / You are the coked up Dionysus in the dark / Who do you think you are, Kendrick La-fucking-mar?” Driving guitars, drums and Kynsy’s charismatic voice all jockey for position on the climax of “Formaldehyde,” ultimately coming together to create some scorching indie rock. The path to utopia may be messy and winding, but it sure as hell is paved with headbanging, sweat-drenched, exquisitely cathartic music.

Wunderhorse: “Butterflies”

I love every song and the overall sound of Wunderhorse’s Cub album, which had a major influence on the direction of this EP. I wanted to create something new for me—an intense, rock-driven collection that captured the feeling of being stuck, isolated and reflective, yet with powerful, almost cathartic choruses. Wunderhorse does this so well. Their American rock and grunge vibe, with its dynamic wall of guitar sound, really resonated with me—especially in the song “Butterflies.” The eerie, bittersweet atmosphere of that track inspired the tone and vision behind the arrangement and production of “Formaldehyde” on this EP. The arpeggiated guitar and subdued vocals in the verses of “Butterflies,” building to that massive, full-bodied guitar sound in the chorus, were elements I aimed to capture in “Formaldehyde.” The haunting harmonies in the “Butterflies” refrain were especially beautiful, and I wanted to recreate that same effect in the “Formaldehyde” chorus.

Pixies: “Gigantic”

This classic pop/rock song was a major influence on the chorus of “Body” with its repetitive chant of “Gigantic,” straightforward rock power chords and bold, punchy punk sound. I love the simple yet effective approach of using just bass, vocals and drums in the verses—it’s a powerful way to build dynamics and create impact.

Black Honey: “Lemonade”

Touring with Black Honey in February was an incredible learning experience. I loved hearing their music every night, and one of my favourite songs from their set was “Lemonade,” which has a distinctly ’90s pop/rock vibe. I was especially drawn to the attitude in Izzie’s vocals; I wanted to bring that same energy to the vocal line in “Body,” along with the fuzzy, overdriven lead lines. In “Lemonade,” she sings about “self-worth for sale,” with hints of self-deception in the lyrics—a theme that resonated with the tone and lyrics I was exploring in “Body.”

New Young Pony Club: “Rapture”

I love this underrated gem, with its simple lead guitars that create a repetitive, trance-like feel, supported by an electronic drum beat that holds the whole track together. The glitchy percussion, including what sounds like reverse cymbal hits, gives it a unique texture, all wrapped in an early 2010s indie vibe. I’ve always been drawn to rock music that experiments with electronic beats and fuses electronic elements—it adds such an intriguing layer. I actually borrowed a bit of this track’s electronic beat and the reverb-laden backing vocals for my own song’s verses. I also love that this song is hypnotic and skips the bridge entirely; sometimes it’s better to let a track loop without forcing a bridge, especially when it’s meant to be a mesmerising, repetitive piece. I wanted to create that for “Stereo Games.”

Paramore: “Misery Business”

“Misery Business” by Paramore brought an edge and energy that inspired the attitude and punch in “Body.” The raw, unapologetic power of “Misery Business,” with its driving guitar riffs, bold lyrics and fierce vocal delivery, influenced how “Body” came together musically and emotionally. Like “Misery Business,” “Body” channels a rebellious energy, embracing a sense of self-assurance and boldness. The aggressive guitar tones, strong beats and confident vocal performance in “Body” reflect that same fierce intensity. “Misery Business” helped me craft “Body” as a track with attitude, blending rock elements with a strong sense of empowerment. The result is a song that’s equally catchy and defiant, capturing the spirit of independence and confidence that made “Misery Business” so iconic.

Shame: “Water In The Well”

In this song, I was captivated by the wild percussion that runs throughout—a mix of wood and cowbell shakers combined with energetic, shouting backing vocals that create an incredible vibe. Without the percussion, the song’s feel would be entirely different. For “Stereo Games,” I wanted a similar vibe, with backing percussion that moves in and out, panning left and right, along with ad-libbed backing vocals to capture that same energy, much like in this song by Shame.

The Cranberries: “Zombie”

When I first came up with the idea for “Utopia” and recorded a voice note (before I’d even written the lyrics), I labelled it the “Cranberries song” because the quiet verse and powerful chorus reminded me so much of their style. That track was a major inspiration for “Utopia,” especially with its dynamic shifts and powerful, overdriven chorus. I loved the rolling toms, dramatism and building verse, paired with a sweet guitar line that led to a big, anthemic chorus with strong vocals. I wanted to capture that same feel for “Utopia.” The poetic, slightly ambiguous lyrics also inspired me to craft verses with a similar tone.

St. Vincent: “Live In The Dream”

I’ve been obsessed with the Daddy’s Home album ever since it came out a few years ago, loving its ’70s Pink Floyd and psychedelic influences. Psychedelic music played a big role in my teenage years, and I even spent some time in an all-girl psychedelic rock band. Though I moved away from that style a few years back, for “Utopia” it felt perfect to bring a touch of it into the softer parts of the verses and bridge. I used a washy sea machine guitar pedal to create that spacey guitar sound that opens the song, and again in the second verse, where a riff reminiscent of Stone Roses subtly weaves into the background.

Cigarettes After Sex: “Apocalypse”

Like “Apocalypse,” I wanted to create an atmospheric, close-to-the-mic vocal with a powerful, dreamy, psychedelic feel. I love the reverberated tambourine echoing in the background of this track and wanted to capture the emotional, cinematic quality in this song and create it within “Utopia.” Both songs invite listeners into a distinct emotional and sonic world, with a sense of escapism woven through reflective lyrics and immersive production.

Wunderhorse: “Mantis”

“Mantis” by Wunderhorse had a huge impact on how I approached “Utopia.” The way “Mantis” builds from this quiet, reflective place into something powerful and raw really inspired me. I wanted “Utopia” to have that same kind of journey, where the song starts small and then opens up into something bigger and more intense. The gritty, almost haunted feel in the vocals of “Mantis” also struck a chord with me—I tried to bring a similar vulnerability and energy to the vocals in “Utopia,” especially in the chorus. The layered, textured guitar work in “Mantis” also influenced my own guitar approach in “Utopia,” where I used effects to create that psychedelic, expansive feel. Overall, “Mantis” inspired me to make “Utopia” an experience, where each moment builds into the next, pulling listeners deeper into the song.

Listen to Kynsy’s Influences playlist below.