The tender appropriation

by J.Lynch

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    releases October 1, 2021

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  • Cassette + Digital Album

    High-quality cassette tape with A5, hand-numbered print on heavy stock textured card, and a full-colour magazine documenting the research that underpins the project. Part academic text, part humorous, touching tribute to the social and family ties upon which our lives are built, J.Lynch offers a fascinating glimpse into the conceptual and compositional process at work.

    Includes digital pre-order of The tender appropriation. You get 2 tracks now (streaming via the free Bandcamp app and also available as a high-quality download in MP3, FLAC and more), plus the complete album the moment it’s released.
    shipping out on or around October 1, 2021
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So There Was This Railroad
The Wanderer 05:15
And Home


‘the tender appropriation’ came about when Johny went to digitise an envelope containing cassettes of his late grandfather singing that had been sent to him by his uncle shortly before he too passed away. On hearing the tapes, Johny realised he had something more unusual than he thought. He found a documenting not only of concerts, but also home recordings of his grandfather’s repertoire of spirituals, and substantial footage of him speaking about them, and his views on their religious application and impact.

What follows is an attempt at a kind of collaboration. To appropriate his grandfather’s appropriation and try to make something else altogether, while also forming a kind of portrait of the man who provided the source material. Johny tries to level the hierarchies implicit in the tapes, affording hiss, warp and tiny moments of sound the same importance as the voice or text.

Things are pulled forcibly through modular synth, speech patterns used to create gates, tapes cut to pieces and rebuilt as loops as Johny tries to make something else, other compositions, divorced from their origins, but not entirely from their performer. We might find within something to do with appropriation, propriety, metaphysics, fervour, and sound. Or we might find something different, or nothing. There is text to accompany the music here, but the intention is to roll these themes around, and provide a story, rather than clarity.

Perhaps what this really is, is a material and emotional response to previously undisclosed discoveries of a departed relative, neither good, nor bad, but often strange or difficult to fathom. History, often leaves us with questions.


releases October 1, 2021

Composed, performed and produced by J.Lynch

Copyright and Publishing: Johny Lamb

Instruments: Groov E portable cassette player, Modular Synthesizer (with Soundhack Morphagene granular sampler), Korg SQ1, Korg Volca Beats, Arturia Microbrute, JHS Mini-Echotec MX99.

J.Lynch is the name for the electronic music of Johny Lamb. He is better known for his songwriting output under the name Thirty Pounds of Bone, which he has been releasing music as, with consistent critical praise, since 2006. In this guise he is able to explore further his ever-growing fascination with modular synthesis, tape, noise, and music that doesn’t necessarily fall under the popular music umbrella. To date, as J.Lynch he has released two EPs, an interpretation of a graphic score by American composer/musician Sarah Belle Reid, and a remix for DAAM’s ‘Brexshitting’ project.

Johny studied art at Dartington College of Arts and visual/performance art heavily informs his methods here. J.Lynch’s music falls awkwardly between electronica, concréte, electro-acoustic, kraut, and drone music with a particular interest in lower fidelities, distortion and haptic, gestural live playing rather than sequenced patterns. He is currently working on sound and noise for movement with Choreographer and dancer Kuldip Singh-Barmi. He lectures in Music at Falmouth University and lives in West Cornwall.


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Difficult Art And Music Lewes, UK

Boutique 'record' label, specialising in short-run, research-orientated, art-objects.

Focussed on all manner of experimental, challenging composition.

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