South London’s KDYN is not just making music — he’s building soundscapes that blend memory, rhythm, and innovation. His new single Feel The Same, delivers a soulful, fast-paced ride that captures the emotional pull of nostalgia. Ahead of his highly anticipated EP, we caught up with the rising British Guyanese DJ-producer to talk about creative chaos, crate digging, and his fearless approach to storytelling through sound.
How did “Feel The Same” come together, and what story were you hoping to tell with this single?
“Feel The Same” started with this loop that hit like déjà vu. It felt like something I’d heard before — almost dreamlike. That sense of nostalgia shaped everything: the bounce, the vocal layers, the sample textures. I wanted it to feel like finding a song you didn’t realise you missed. It’s fast-paced, soulful, but still clean — like memory in motion.
Your music blends genres effortlessly—what’s the thread that ties all your sonic influences together?
I feel like that thread is rooted in my upbringing, Stevie Wonder, Quincy Jones, Prince and Michael Jackson — the super sauce. That ability to move between funk, soul, pop, and something spiritual without it ever sounding too forced. That’s what I try to channel in some way through everything I do! As I grow I just want to keep pushing the boundaries of what’s possible and what I enjoy most.
As someone raised in a musical household steeped in UKG, how did that shape your identity as a producer?
I’ve definitely absorbed the energy, but I also try not to be boxed in by it. UKG taught me about rhythm, space, and raw emotion — but I always see it as a foundation, not a limit. It gave me my instincts, and now I build beyond it.
You write, produce, record, and mix everything yourself. What’s the creative process like inside your home studio?
It’s layered chaos. I start with an 8-bar loop and build around it like I’m decorating a Christmas tree. Then I hit a button and the whole thing changes. I love contrast, switch-ups, call-and-response. It’s very visual for me — I see the shapes and colors as much as I hear the sounds.
‘Proud’ brought new life to a forgotten record—how do you approach crate digging and sample discovery?
I’ll sit with old vinyl recordings on YouTube for hours — I’m always chasing a feeling, not a trend. “Proud” was one of those rare opportunities where the messaging was already so powerful. I didn’t want to just flip it — I wanted to amplify it. I’m really proud (no pun) that it resonated the way it has.
Live elements and gear clearly drive your sound. What piece of kit or instrument could you never live without?
My Tele — I have a few, but my first one’s still my favourite. There’s history in it. I also use a Roland Fantom S88. No one really touches that keyboard anymore, and that’s exactly why I love it. It’s got this weird funky soul to it.
From Fred Again to Cleo Sol, your inspirations are wildly eclectic. Who’s inspiring your sound right now?
Right now, I’m inspired by artists who are brave with space and silence — like RAYE and SAULT. There’s so much power in what they don’t do, and how intentional their choices are. I’ve always been drawn to artists who build entire worlds — Quincy Jones, Madlib, Terrace Martin, Bruno Mars & Anderson Paak — people who treat music like storytelling.
More recently, I’ve been inspired by artists I’ve actually had the chance to work with. Francois McCrary, Justin Magnaye and Bootie Grove — their creativity and attention to detail constantly push me forward. That real-time inspiration hits differently when it’s happening right next to you.
With an EP on the horizon, what can fans expect from this next chapter—and how do you want them to feel after listening?
This EP sits somewhere between the electronic world and live musicianship — it’s textured, soulful, and built on real instruments, but with the energy and precision of electronic production. It’s my first real attempt at fusing pop with funk, soul, gospel — all while keeping the creative direction sharp and artist-led.
Most of these tracks were made two, even three years ago — but I knew they needed the right moment to be heard. The EP is designed to feel like one continuous listening experience — transitions, dynamics, movement. It’s immersive, but accessible. And it’s just the beginning. I’ve got full projects coming that push even further, especially with my own vocals. This is the first step.
