While much of today's dubstep has all the charm of a troll living under a motorway bridge, Belfast's multi-talented Bary Lynn brings us a sort of elated psychedelia, lacing his sub-bass with tricksy drums, soulful flutes, and splashes of live electric guitar. 2006's Oneiric was acclaimed as a new direction for the genre, but his new LP Glyphic is even better.

Interview by Dazed Digital

Dazed Digital: What's changed for you since Oneiric?
Boxcutter: I'm making stuff a bit quicker lately and watching that I don't overwork things, just so I can keep it sounding spontaneous. I'm using more hardware stuff too, which suits me because I like playing on instruments.
DD: How much of this album is played live?
B: Some of it: the guitars and synths. It sounds like a load of jams to me, listening back now. Some of the tracks are edited down from longer sessions.
DD: Do you have any interest in producing for the dancefloor?
B: Yeah I love dancefloor music, if that's not coming across it's probably my ropey production. I like trying to make people dance without resorting to really obvious ideas though.
DD: Have you become more confident about your music?
B: I'm never that confident about my stuff to be honest, I like it but it's weird exposing it by releasing it, that's something I'm still sort of getting used to. I'm usually most into the stuff I've just made that no one's heard yet, I like just walking round somewhere quiet playing it on headphones
DD: Which Irish artists can you recommend that Dazed readers might not have heard of?
B: My mate Filaria.
DD: You're influenced by "cosmic" jazz. What are your favourite cosmic jazz albums?
B: The first three that come to mind are Kulu Se Mama by John Coltrane, The Elements by Joe Henderson & Alice Coltrane, and Village Of The Pharoahs by Pharoah Sanders.