Vegyn is a mysterious entity. The London-based musician and producer, born Joseph Thornalley, has made quite the name for himself in the world of ambient electronic music. Aside from his own musical oeuvre, Thornalley has found himself in rooms with some of hip-hop and pop’s biggest names like Travis Scott, JPEGMafia, Kali Uchis, even producing some of the most heavy-hitting tracks on Frank Ocean’s era-defining Blonde and Endless.
Now, over a decade into his career, comes his new album The Road To Hell Is Paved With Good Intentions. The sprawling body of work contains his signature range of eclectic sonic influences with airy synths, pristine drum programming and a slew of features from the likes of Lauren Auder, John Glacier and Léa Sen — all of whom complement Vegyn’s production in ways that feel distinct. In the album’s press pack, Thronally refers to it as “a sort of happy melancholia. It’s like, you’ve finally gotten to ‘acceptance’ in the stages of grief."
Though he is wary of doing too much press, we sit down with Vegyn to discuss new music, the joy of letting go and pursuing peace above all else.
How do you hope this album fits into the current climate of the world and music?
To be honest, when I go about making music I’ve never really paid too much attention to what other people are releasing. I think music is far too tribal and combative in its current state. To me, at least, it seems like there’s always been plenty of space for everyone to be able to express themselves without it having to reduce to petty egoic competitions.
What’s the most flattering thing someone has said about your music?
In Sydney last year, I had met the friends of a fan who had passed away from cancer. They shared how my music had helped him and them through such a tough time. Knowing my music held significance in someone's life and continues to honor their memory is incredibly humbling and heartwarming.
What makes you most excited about releasing music?
The joy of finally letting go of something you’ve been working on for a long time.
As a kid, what were some movies or pieces of art that were formative for you?
A good friend took me to a screening of Ordet (1955) at the BFI in London. After watching it, I felt like I had literally witnessed an actual miracle play out in front of me. It was profoundly moving and a testament to cinema, faith and the power of belief.
Tell me about the making of this album. How did it come together and what colors, textures, stories, or themes do you think it adds to the Vegyn lore?
I’ve always tried my best to stray from answering too many questions around mythologizing myself where possible. I’m not interested in curating some sort of legacy for myself. I just make the work that I feel I need to make and then move on. I think it’s far more interesting to let the listener come to their own conclusions.
What do you most hope to get out of 2024?
More peace.
Photography: Joshua Gordon
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