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Each day I am asked, “Why do you wear that mask, Lynks?” If I didn’t, all of you would want to have intercourse with me.” It’s easy to see where the confidence comes from: Lynks’ clever and openly sexual observations of British gay culture, set to powerful pop music similar to MIA and Peaches, have positioned them as one of the most intriguing acts in UK pop.
Another interpretation comes from the unnamed, mild-mannered individual who hides behind the Leigh Bowery-inspired masks. They explain that Lynks is the opposite of themselves – someone who helps them shed their insecurities and embody a self-absorbed pop star (they also use both male and female pronouns). This revelation came after a period of being a singer-songwriter, where they confess to trying to imitate James Blake like many male producers born in the late 90s. After losing all their old music when their laptop was stolen, they embraced “a crazy, horror-drag character” and moved from Bristol to London. Now, when performing without the mask, they often get pushed aside by their own fans.
The debut album from Lynks, titled “Abomination,” explores the themes of identity, both in its celebration and concealment. In tracks such as “(What Did You Expect From) Sex With a Stranger,” Lynks sings about being on the DLR (Docklands Light Railway) on the way to have casual sex, while in “Lucky,” they express gratitude for being born in a country where their sexuality is not a death sentence. The album is predominantly bold, dance club-inspired pop with industrial influences, and it often feels like it’s made entirely out of hard plastic. However, there are also softer moments that hint at something deeper underneath the bravado. Throughout the album, Lynks delves into topics of sex, queer pride, and queer shame, which are recurring themes.
Lynks explains that when the word “abomination” is mentioned, straight individuals typically view it as something very negative. However, a gay person may see it as a representation of how they are portrayed in the Bible, specifically in Leviticus 18 which mentions not lying with a member of the same sex. This passage is used as a mid-album interlude. Even if one did not grow up in a religious environment, the concept can still be ingrained in them. An interesting fact is that the same punishment is stated for those who wear clothing made of different fabrics, meaning that anyone wearing a cotton-polyester blend would also be considered “fucked”.
Lynks desired to redefine the term “abomination” as a symbol of pride, embracing the power in shame. Artists such as Troye Sivan and Sam Smith are effectively highlighting the incredible strength and talent of the LGBTQ+ community, but there is also value in exploring the struggles that come with being queer. This can be done while still maintaining a sense of pride.
The openness about sexuality in queer pop is uncommon. Film director Andrew Haigh suggested that the impact of Aids caused a shift in the representation of gay pop stars, leading to a less overt expression of gayness. Pop music may still be healing from this change. Lynks agrees that it’s hard not to imagine a world where Aids did not exist. The gay community often fixates on youth and the fear of aging due to the lack of role models for aging gay men – many either died or lived in secrecy. This is reflected in Lynks’ song “Use It Or Lose It”, where he ponders the meaning of being a gay man over the age of 40, unless one is a celebrity like Ian McKellen or Graham Norton.
This analysis also applies to the directness of modern dating through the use of apps. “As a community, we have faced and overcome significant amounts of trauma, rejection, and bullying. This makes us resilient and capable of being quite harsh,” Lynks explains. “Additionally, consider the behavior of heterosexual individuals during their teenage years while exploring their sexual identity – it can be chaotic! Some gay men may not come out until later in life, meaning that sometimes it feels like we’re stuck in adolescence even in our 20s and 30s.”
Lynks incorporates witty one-liners into their music, with a particular influence from Courtney Barnett. They use humor as a way to address more serious topics, stating, “the only people who can be completely sincere without using humor are either psychopaths or Americans.” In writing their earlier single “Str8 Acting,” which addresses internalized homophobia and compares straight clubs to pubs, Lynks came to the realization that they don’t have to choose between being a clown or being like Adele – they can be a combination of both.
The vulnerable moments of Abomination are revealed in Tennis Song’s longing for a straight tennis coach and New Boyfriend’s desperate pleas to a toxic ex, exposing the true identity of Lynks’ creator. These moments are captured in the album’s final track, Flash in the Pan, where fears of Lynks’ potential failure are expressed. The journey to completing Abomination was not without obstacles, as Lynks’ laptop, which contained the finished mixes, was stolen once again, leading to a lengthy rebuilding process. “Not everything fits together perfectly,” they confess, boldly pairing unconventional combinations like cappuccino with trampoline. “But it’s authentic. I’ve explored topics that I haven’t heard anyone else write about.”
Source: theguardian.com
