REVIEWS
On their long-awaited debut album, the mysterious drag-pop singer explores queer shame, pride and sexuality
If you’ve been following Lynks since they burst onto the underground club scene with their 2020 breakout EP ‘Smash Hits, Vol.1’, you’ll have some idea what to expect from this long-awaited debut album – sexual empowerment, tongue-in-cheek innuendos and rave-ready anthems. From the moment it kicks off with the head-turning ‘Use It Or Lose It’, it becomes clear that the mysterious masked artist – who never shows their face and prefers not to reveal their government name – isn’t here to tread on eggshells.
Instantly witty lyrics such as “I put the ass in blasphemy” and “Romance isn’t dead, it’s in a coma / I’m just a dog out, tryna get a boner” stand out. They carry the same brash charm and sexually-charged confidence that first put the drag-pop singer on the map. Yet, it feels naive to summarise the album as a stronger version of what we’ve already seen from Lynks as ‘Abomination’ reveals new layers to the London-based artist.
Given the creative freedom of a full album, Lynks drops some harsh home truths and reveals their vulnerable side. ‘Tennis Song’ chronicles a one-sided affair with a tennis coach, while ‘Flash In The Pan’ is fuelled by self-doubt. “You get 15 minutes – then your 15 minutes is up,” they sing over percolating electro beats.
As the tracklist progresses, Lynks’ sexually liberated take on gay pride is counterbalanced by an exploration of queer shame. They also hold a spotlight up to the societal pressures faced by the LGBTQ+ community. “I’ve been told I’m a heathen, so you best believe I’m on the guest list for the armageddon,” Lynks proclaims on the title track. It’s a particularly powerful moment because it follows directly on from ‘Leviticus 18’, where a Bible verse containing anti-queer sentiments is read out in full. “Don’t you think it’s a bit hypocritical, you get to love all men but when I do that that’s unforgivable,” Lynks ponders, addressing god, before deciding to reinterpret their “sins” as a badge of honour.
A similar sentiment is expressed on the introspective ‘Lucky’, on which Lynks counts their blessings to have been born in a country where “sexuality isn’t a death sentence”. It’s one of the most powerful moments on the album. Ultimately, ‘Abomination’ feels like the first leap Lynks has taken into showing all their dimensions as an artist. It’s a refreshing change of pace to hear them not just deliver club classics, but also let their spiky persona begin to soften a little. As Lynks explores new avenues of their sound, they convert feelings of shame into something defiant and empowering. The result is a thrilling, moving, life-affirming listen.
