Meet Rising Trance Star KINETICA: The Belter Of Belfast

Irish producer Dee Henry has hammered his way onto the Trance scene with a unique blend of uplifting, euphoric melodies and dark, driving tech Trance sounds. Better known as KINETICA, his story is one of a lifelong love of music first and foremost, which has influenced an evolution from audiophile to DJ to producer. Even as the rest of the world is on hold, the show must go on – and despite the uncertain future the world situation has brought to the world of music, Dee is pulling out all the stops.

Dee’s sound reflects a penchant for booming, Tech Trance, for which I’ve dubbed him the Belter of Belfast – take a listen to a track like The Rattler (his favorite release from 2019), and you’ll hear why. This “heavier” sound reflects the influence of his Irish roots and growing up in Belfast from the age of four, although it only represents one side of his productions. He’s also become well known for delicate, uplifting melodies – a perfect balance to the darker tech sound.

“I like to be diverse,” Dee says, indicating that the style in which he writes often depends on his mood. “I can do the harder side, I can do the softer side, and I enjoy exploring those sounds and the feelings behind them.” He mentions that he particularly enjoys the tech sound since it allows him to flex his creativity: “You can throw anything at it,” he remarks as we discuss the last year or so of his KINETICA releases.

KINETICA

A DJ for over 20 years, Dee recalls listening to happy hardcore cassettes at an early age and then buying records in secondary school and swapping with friends. Vinyl holds a special place in his heart, and recently he’s rediscovered a cache of records he thought was long lost. He tells me he’s spent quite a bit of time getting those records cleaned up and ready to be heard again – and the recent acquisition of two Technics turntables is a teaser for fans of classic Trance sounds. I can hear how excited he is to share his collection with the world, and his fans can expect to see classic vinyl sets soon.

The Irish Trance scene has grown enormously of late, and KINETICA has been at the helm, taking the booming Tech Trance sound to new heights with original tracks like Major Tom, and his remix of Marco Svarda’s Toucan. Dee reflects on the relatively young Irish Trance scene, observing that there’s been a noticeable shift away from the more traditional 138 BPM sound that originates in the Netherlands. “Ireland is a great place to be, at the moment,” he says when I ask him what it’s like to be leading the charge. “You can walk in, and it’s a rockin’ night – Belfast in particular. Irish producers are a new breed – it’s a younger scene and crowd.” KINETICA is well chuffed to be part of this growing movement; his pride is evident as he promises, “Anything to help the Trance scene and to help it move forward personally.”

The March 26, 2020 release of First Contact – a melodic, uplifting beauty of a collaboration with Paul Van Dyk marks a milestone in a career that many producers will already be envious. It also cements KINETICA as a household name in the Trance community, bringing his sound to an international audience. His catalog of music includes multiple releases with legendary names like Binary Finary, and with an incredible selection of original music and remixes, KINETICA is charging into 2020 with unstoppable force.

Read more about KINETICA’s collaboration with Paul van Dyk here.

We take a moment to discuss what it’s like working with Paul Van Dyk. KINETICA has seen support from many big names, but it took a private message from Suzanne Chesterton to let him know that Paul Van Dyk was playing a good chunk of his catalog. She reached out to him during a time when he was taking a break from music; once he returned to the studio, he began writing music and sending demos to Paul’s label, Vandit Records. Eventually, he got a note back that PVD wanted to collaborate with him, and I can hear him smile as he chuckles and tells me, “I thought it was a joke!” Unsure of the validity of the message, he responded after a day or so only to find out that it was the opportunity of a lifetime.

Read more about Suzanne Chesterton’s SISKIN project here and here.

Dee says he was concerned about the timing of this release, due to the world situation, but as he’s reached over 400,000 plays on Spotify for the track, he’s become less concerned. It’s a wonderful opportunity promotion-wise, and while the track is being released both as a single and as part of an album, there’s less support from club plays. But, it’s a matter of time until venues open. When that happens, KINETICA is ready. When I ask him if he’s booking any upcoming gigs during this downtime, he assures me that, “The ones that are on the schedule for this year will still happen, just postponed. At the moment, it’s a big risk for promoters to put out deposits for performers, so they’re not necessarily booking 100%.” He’s recently signed with NextGen Artists and is very happy with the support from them. He’s been talking with his agency to sort out setting up a livestream – in the next week or two, he hopes to be able to play for his fans. And, as we’ve hinted earlier, there are plans for an all-vinyl KINETICA livestream, adding, “That’ll be a big one!” Dee’s also planned some guest mixes, too.

Read more about NextGen Artists here.

First Contact is the product of an opportunity that most producers only dream of, and Dee says he has a bucket list of producers he’d like to work with and indicates that he’s only just getting started. While there is exciting news on the horizon, he says he can’t say much about who he’s gearing up to work with for fear of jinxing it. Still, fans will be well pleased with the music coming down the pipeline. He hints at an upcoming release with Binary Finary, and comments, “Binary Finary’s 1998 – I touched that record today and had a moment. Never thought I’d have a release with Sasha now when I was buying these records as a kid.”

KINETICA

Dee began producing with FL Studio (back when it was still called Fruity Loops) and eventually moved into Ableton at the urging of his childhood friend and fellow producer Inversed. As Dee tells it, Anton (Inversed) and Matt Thomas (Asteroid) were the driving force behind his move to the Ableton DAW, and he’s grateful for their input, as he’s not looked back. KINETICA also credits trancecommunity.com, a forum to ask questions about production, helping him learn to make a proper track. The tips and tricks he gleaned from that forum and Youtube, along with the guidance from friends, have helped him become the producer that he is today.

KINETICA has been busy during this downtime. Taking the opportunity to read up on music theory, he says, “every day in the studio is a day to learn something new – whether it’s one small part of something bigger, that’s a success.” Having time to create is great for producers, so he’s grabbed the proverbial bull by the horns, and fans can expect to hear new music from the Belter of Belfast very soon.

Editor note: trancecommunity.com did not come up in our searches and may be disabled.

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Dave Brookes

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