Vegyn, whose real name is Joseph Winger Thornalley, is a London-based British electronic music producer, DJ, and graphic designer.[1] Best known for his production work on Frank Ocean's critically acclaimed albums Blonde (2016) and Endless (2016), where he contributed to tracks such as "Nights," "Close to You," and "Comme des Garçons," Vegyn has established himself as a key figure in contemporary electronic and experimental music.[2][3][4]The son of renowned songwriter and producer Phil Thornalley, Vegyn grew up in Kilburn, northwest London, and began releasing music independently on Bandcamp around 2014, initially with mixtapes like All Bad Things Have Ended – Your Lunch Included.[1][2] His self-taught style blends glitchy, ambient electronics with club-oriented beats, drawing influences from IDM, neo-psychedelia, and experimental pop, which has earned him collaborations with artists including Travis Scott and James Blake.[2][5][6]In 2014, Vegyn founded the record label PLZ Make It Ruins, which serves as a platform for his own output and that of like-minded artists, evolving into a boundary-pushing fashion brand as well.[1][7] Through the label, he has released several acclaimed projects, including the debut studio album Only Diamonds Cut Diamonds (2019), the glitch-hop-infused Don't Follow Me Because I'm Lost Too!! (2022), and the sophomore effort The Road to Hell Is Paved with Good Intentions (2024), which features guest appearances from John Glacier.[1][8] In 2025, he released the remix albumBlue Moon Safari, a full reimagining of Air's Moon Safari in collaboration with Parlophone Records, continuing his exploration of dynamic, emotive soundscapes.[1] Under his alias Headache, he released Thank You for Almost Everything in October 2025. Vegyn's work often emphasizes philosophical themes of introspection and impermanence, as reflected in his DJ sets and visual artistry.[7][](https://www.rollingstone.com/music/music-features/vegyn-frank-ocean-headache-travis-scott-1235001572/][9]
Early life
Family background
Joseph Winger Thornalley, known professionally as Vegyn, was born and raised in Kilburn, a district in northwest London, within a middle-class artistic family.[10][11] His father, Phil Thornalley, is a veteran songwriter, musician, and producer renowned for his work on The Cure's 1982 album Pornography, as well as co-writing the global hit "Torn" for Natalie Imbruglia and collaborations with artists including Bryan Adams, Pixie Lott, and Duran Duran.[11][12][13] Growing up, Vegyn was immersed in music from the 1960s and 1970s, including prog rock and classic hits often played on BBC Radio 2, which served as a constant backdrop in the household.[14]Vegyn's mother worked as a professional graphic designer, contributing to the family's creative environment where artistic expression was encouraged and supported.[15][11] From an early age, he observed production techniques, such as bass and drum recording, demonstrated by his father, fostering an innate understanding of music-making that extended beyond mere listening.[14] This familial exposure to both visual arts and audio engineering shaped Vegyn's multifaceted approach to creativity, though he later pursued electronic music as a distinct outlet separate from his parents' more traditional influences.[15] The family's northwest London locale, near historic studios like Abbey Road and RAK, added a layer of musical heritage to his upbringing, with his father often sharing anecdotes about local venues that once hosted acts like the Rolling Stones.[11]
Education and early career
Thornalley studied graphic design at the London College of Communication, where he began exploring music production in 2013.[4] Initially lacking formal musical training and having never played an instrument, he was inspired by the vibrant electronic music scene surrounding him at the college, including frequent visits to the influential UK bass club Plastic People.[4][16]Encouraged by peers, Thornalley taught himself beatmaking using software, starting with boom bap styles before evolving into experimental electronic sounds.[4] Within a year, he left university to pursue music full-time, marking the transition from student to professional artist.[4] In early 2014, he released his debut mini-album, All Bad Things Have Ended – Your Lunch Included, on Bandcamp, which showcased his nascent style blending hip-hop rhythms with ambient and club elements.[17][18]This release coincided with the founding of his independent label and club night, PLZ Make It Ruins, which quickly became a platform for emerging electronic producers in London's underground scene.[18] Through these early efforts, Thornalley built a grassroots following via self-releases and DJ sets at small basement parties, laying the groundwork for his later collaborations and broader recognition.[4][19]
Career
Music beginnings (2013–2015)
Vegyn, born Joseph Winger Thornalley, began his music production career in 2013 while studying graphic design at the London College of Communication. He self-taught production techniques and started sharing experimental electronic tracks on platforms like SoundCloud, drawing from the burgeoning online beatmaker scene. Early uploads such as "Fingers," featuring haunting vocal manipulations and atmospheric synths, and "not phased," with its uptempo drum breaks and chopped melodies, showcased his initial foray into dreamy, boundary-pushing electronic sounds. These tracks garnered early attention, including a public endorsement from the band Zero 7 on Facebook, highlighting his potential within the UK's underground electronic community.[20][21]In early 2014, Vegyn released his debut project, the eight-track mixtapeAll Bad Things Have Ended – Your Lunch Included, independently through his newly founded label PLZ Make It Ruins (catalog PLZ001). Self-produced in his bedroom studio, the release blended lo-fi beats, ambient textures, and rhythmic experimentation across tracks like "Outtt" and "Afrika," reflecting influences from IDM and UK bass scenes. The project marked his first full-length effort, emphasizing raw, introspective production that prioritized emotional depth over polished club functionality. Notably, the track "Jupiter" was co-written with collaborator Ersatz, signaling early collaborative tendencies in his workflow. Design elements, including illustrations by his sister Julie Thornalley, underscored his integration of graphic arts into music presentation.[17][16]By 2015, Vegyn solidified his emerging style with the Janhui EP, a four-track vinyl and digital release on PLZ Make It Ruins (PLZ004), issued on February 15. Clocking in at around 17 minutes, the EP featured self-produced cuts like the title track, characterized by glitchy percussion and ethereal pads, alongside "Imran," co-written with Iydes. This work represented a maturation in his sound, leaning toward more structured electronic forms while retaining the improvisational spirit of his SoundCloud origins. Released amid growing buzz in London's experimental circles, Janhui helped position Vegyn as a notable voice in the post-dubstep and electronic underground, paving the way for broader recognition.[22][23]
Breakthrough and collaborations (2016–2018)
In 2016, Vegyn achieved his breakthrough through his production work on Frank Ocean's albums Endless and Blonde. He met Ocean at London's Plastic People club, where he shared his music, leading to an invitation to collaborate during the recording sessions in various studios across California, London, Miami, and Berlin. Vegyn contributed production, drum programming, bass, and songwriting to multiple tracks on Endless, including "Comme des Garçons (Comme Des Garçons)," "Xenons," and "In Here Somewhere," handling elements like programming and instrumentation that shaped the album's experimental, atmospheric sound. On Blonde, he is credited as a songwriter and producer on "Nights," notably influencing the track's pivotal beat switch, and provided additional production support on several other songs, blending his electronic style with Ocean's R&B introspection.[4][2][24][25]These collaborations marked Vegyn's emergence as a sought-after producer in the electronic and alternative scenes, earning him co-hosting duties on the premiere episode of Ocean's blonded RADIO on Apple Music's Beats 1 in February 2017, alongside Roof Access and Federico Aloprandi. The show featured Vegyn's selections and marked a public extension of their creative partnership. That same year, he released his single "Phone Phoneys" on March 24 via his independent label PLZ Make It Ruins, a double A-side that showcased his glitchy, IDM-influenced beats and solidified his role as a label founder curating experimental electronic music.[4][1]By 2018, Vegyn expanded his collaborations beyond Ocean, co-producing the track "ASTROTHUNDER" on Travis Scott's album Astroworld, where he added atmospheric synthesizers and electronic textures to the song's psychedelic trap framework, complementing Scott's maximalist production. This contribution highlighted Vegyn's versatility in blending electronic elements with hip-hop, further elevating his profile in mainstream circles. He also participated in NTS Radio broadcasts under the PLZ Make It Ruins banner, including a May 23 session with JPEGMAFIA and CRASHprez, fostering a community around his label's boundary-pushing sound.[2][16][26]
Solo releases and label work (2019–present)
In 2019, Vegyn released his debut studio album, Only Diamonds Cut Diamonds, through his own imprint PLZ Make It Ruins, a label he founded in 2014 to champion experimental electronicmusic with a DIY ethos.[1][27] The album, comprising 19 tracks, blended glitchy IDM, ambient textures, and emotive synths, marking a shift toward more structured songwriting while retaining his signature fragmented production style.[28] That same year, he issued the mixtapeText While Driving If You Want to Meet God!, a sprawling 71-track collection of improvisational sketches and loops, further showcasing his prolific output and the label's role in facilitating rapid, unpolished releases.[1] Accompanying singles like "Nauseous / Devilish" and "It's Nice to Be Alive" highlighted his evolving pop sensibilities.[29]The following years saw Vegyn deepen his engagement with PLZ Make It Ruins, using it as a platform for alternate takes and extended projects. In 2020, he followed up with ODCD Alt Versions, a remix companion to his debut album that reimagined tracks with deconstructed beats and field recordings, emphasizing the label's focus on iterative creativity.[1] By 2021, the EP Like a Good Old Friend expanded his sonic palette with spacious electronic pop, including collaborations such as "I See You Sometimes" with Jeshi, reinforcing PLZ Make It Ruins' commitment to boundary-pushing collaborations within the UK electronic scene.[30] The label, operating from London, continued to release Vegyn's work alongside select artists like Testset, maintaining a catalog of over 50 entries by 2025, though his solo material remained central.[31][32]Vegyn's output peaked in scale with the 2022 mixtape Don't Follow Me Because I'm Lost Too!!, a 75-track behemoth released via PLZ Make It Ruins that captured stream-of-consciousness experimentation, amassing millions of streams and underscoring the label's capacity for ambitious, low-barrier projects.[33] In 2024, he delivered the album The Road to Hell Is Paved with Good Intentions, his most collaborative solo effort to date, featuring artists like John Glacier and Sampha on tracks blending downtempo grooves with introspective lyrics; the record, again on PLZ Make It Ruins, received critical acclaim for its emotional depth and production polish.[34] This period also saw Vegyn branching into major-label territory with Blue Moon Safari in 2025, a remix album reworking Air's 1998 classic Moon Safari for Parlophone, which introduced his glitch-infused style to broader audiences through tracks like a vaporous take on "Sexy Boy."[35] Throughout, PLZ Make It Ruins evolved beyond music into a fashion brand, with Vegyn overseeing limited-edition apparel tied to his releases, blending his multidisciplinary vision.[36]
Musical style and influences
Key influences
Vegyn's musical style draws from a diverse array of electronic, experimental, and classical sources, shaped by his early exposure to beatmaking and broader artistic explorations. A longtime fan of Aphex Twin, he has cited the artist as a key inspiration for pushing beats into unexpected and occasionally uncomfortable territories, influencing his glitchy, off-kilter production approach.[37] Similarly, during his formative years, Vegyn immersed himself in the works of Boards of Canada and Flying Lotus, favoring electronic music that evokes deep emotions without relying on traditional melodies, which informed his preference for atmospheric and textural soundscapes.[37]Classical composers have also profoundly impacted his work, with Vegyn expressing admiration for Johann Sebastian Bach's ability to convey intense feelings using minimal elements, such as just two notes at a time, a technique he explored through self-taught piano practice.[38] He has similarly referenced Ludwig van Beethoven as providing a subliminal emotional undercurrent in his compositions.[39] In the realm of experimental rock, My Bloody Valentine stands out, with Vegyn praising their "strangest choices of all time" and drawing from Kevin Shields' decisive, unconventional methods to inform his own production decisiveness.[38]Hip-hop and beat traditions form another cornerstone, particularly 1990s boom bap, which Vegyn emulated by copying beats in his youth, laying the groundwork for his rhythmic precision.[38] J Dilla's instrumentals further inspired his early sketching of tracks, blending soulful sampling with electronic elements.[37] More contemporary influences include Elysia Crampton (now Chuquimamani-Condori), whose SoundCloud discoveries in his Kilburn upbringing "reconfigured his view of music," encouraging bold experimentalism.[11] Mike Kinsella's emotive style directly shaped specific riffs, like in "Time Well Spent," evoking nostalgia.[11]Broader genre influences encompass ambient deep house, woozy electronica, and club music tailored for introspective listeners, often described as "club music for people who secretly hate clubs."[11]Balearic beat and French house elements recur in his releases, recalling their euphoric yet melancholic vibes, while pioneers like Brian Eno and Todd Rundgren provide nods to bit-crushed nostalgia and progressive pop structures.[39] These influences converge in Vegyn's signature "happy melancholy," a blend of humor, euphoria, and subtle sadness that permeates his solo and collaborative output.[38]
Production techniques and themes
Vegyn's production techniques emphasize instinctual and organic processes, often prioritizing speed and decisiveness to capture fleeting ideas without overanalysis. He frequently begins compositions on piano or guitar, instruments he plays with limited formal proficiency, using them as tools to challenge his creative boundaries and foster spontaneity. This approach contrasts with his earlier work on the 2019 album Only Diamonds Cut Diamonds, where he relied heavily on software automation and extensive tweaking; by the time of his 2024 release The Road to Hell Is Paved with Good Intentions, Vegyn shifted toward more playful, hardware-based methods, incorporating synths and practicing by transcribing pieces from diverse genres like Bach's classical works and 1990sboom bap beats. To maintain creative flow, he employs transcendental meditation techniques inspired by David Lynch's Catching the Big Fish, aiming for a state of zero expectations where he can generate up to 15 tracks in a day by quickly saving ideas and moving on when stuck. Additionally, Vegyn experiments with hallucinogens to spark inspiration and often mangles, slows, or distorts sounds for live performances or dance-oriented tracks, reflecting influences from footwork artists like RP Boo.[38][11][7][14]His workflows highlight simplicity and collaboration, drawing on principles like Occam's razor to use minimal notations for clear expression, and he favors rapid, improvisational sessions—such as completing the track "Another 9 Days" with Ethan P. Flynn in just two minutes. Vegyn produces prolifically, creating numerous beats and later refining only those that feel special (estimating about one in 100 as standout), which allows him to avoid perfectionism and embrace playfulness, as seen in the two-week creation of his Headache project. These techniques result in a tactile, emotive sound characterized by pristine drum programming, airy synths, and eclectic influences blending ambient, electronic, and club elements, often with intentional muddiness or clarity to evoke specific feelings.[38][7][11][14]Thematically, Vegyn's music explores "happy melancholy," a juxtaposition of euphoric rhythms with subtle somberness, creating dreamlike soundscapes that invite emotional projection through distant voices, echoes, and meditative hazes. Recurring motifs include liminal spaces, subconscious desires, and Freudian undertones of the id, as evident in track titles like "A Dream Goes On Forever" and the sonic fog enveloping pieces such as "Trust" and "Last Night I Dreamt I Was Alone." His work delves into themes of letting go, acceptance, and life's dualities—balancing humor with loss, sincerity with ennui—often framed as escapist nostalgia for unrealized experiences or internal reflections on emotional release. Influenced by literary sources like Ursula K. Le Guin's philosophy and Cormac McCarthy's Blood Meridian, as well as My Bloody Valentine's unconventional choices, Vegyn's recent albums incorporate more traditional song structures and vocals on nearly every track, moving from abstract instrumentals to mood-based narratives that emphasize dreaming and self-examination.[38][11][14][7]
Other activities
Graphic design and visual work
Vegyn, born Joseph Winger Thornalley, was raised in an artistic household in Northwest London, where his mother worked as a professional graphic designer and his father as a musician, fostering his early interest in visual arts.[15] During his youth, graphic design and art served as his primary creative outlets before music took precedence, shaping his multidisciplinary approach to creativity.[40]As a graphic designer, Vegyn incorporates visual elements into his broader practice, viewing it as a source of personal fulfillment alongside music production.[2] He founded the record label PLZ Make It Ruins in 2015, which evolved into a boundary-pushing fashion brand offering experimental garments such as hoodies, T-shirts, and blankets that blend his aesthetic sensibilities with wearable art.[36] In recent years, Vegyn has increasingly embraced his design roots, sketching clothing concepts and expanding the label's visual identity to reflect themes of imperfection and emotional release found in his music.[11] This fusion of graphic design and fashion underscores his commitment to holistic artistic expression, where visuals complement and extend his sonic explorations.[7]
DJing and live performances
Vegyn, whose real name is Joseph Winger Thornalley, has built a reputation in the electronic music scene for his infrequent but impactful performances, often blending his production expertise with DJ sets and occasional live shows. His appearances emphasize emotive electronic sounds, ranging from cerebral ambient textures to glitchy, immersive elements that create a surreal club atmosphere.[41][42]As a DJ, Vegyn delivers sets characterized by industrial breaks, ambient drift, and warped club memories, drawing on his influences from hip-hop, R&B, and abstract electronic music. His DJ tours highlight this diversity, such as a 2024 headline tour alongside Loukeman, where he curated selections that immerse audiences in hazy, unresolved rhythms. A notable example includes his DJ set at the Crack 15th Birthday Party in Bristol on September 21, 2024, shared with artists like Shy One and Flowdan, showcasing his ability to navigate club environments with jagged, abstract energy.[42][43][44] In 2025, he completed a rare Australia and New Zealand tour in October, featuring headline DJ shows in cities including Melbourne, Sydney, Brisbane, Wellington, and Auckland, supported by NYC producer amr*.[42]Vegyn's live performances are even rarer, often limited to a handful annually, reflecting his preference for studio work over stage commitments. One such event was his sold-out show at EartH in London on October 12, 2023, marking his third overall live performance and first fully live set in the city; he used a hands-on electronic setup with knobs and switches in a dimly lit space, starting with seated, introspective tracks like "I See You Sometimes" before shifting to dance-oriented pieces such as "It’s Nice to Be Alive," energizing the crowd into movement.[11][45] Festival appearances have also featured his live format, including slots at All Points East in London's Victoria Park on August 24-25, 2024, and Paredes de Coura in Porto on August 15, 2024, where he integrated his signature soundscapes amid broader lineups.[44] These outings underscore his focus on creating intimate, transformative experiences rather than frequent touring.
Discography
Studio albums as Vegyn
Vegyn's studio albums are characterized by his signature blend of electronic experimentation, glitchy beats, and emotive soundscapes, often self-released through his label PLZ Make It Ruins.His debut studio album, Only Diamonds Cut Diamonds, was released on November 8, 2019, via PLZ Make It Ruins.[46] The 12-track record explores themes of distortion and harmony, featuring collaborations with artists like Ethan P. Flynn and Pink Siifu.Vegyn's third studio album, The Road to Hell Is Paved with Good Intentions, was issued on April 5, 2024, through PLZ Make It Ruins.[34] The 13-track release incorporates ambient and house elements, featuring vocal contributions from John Glacier, Ethan P. Flynn, and Puma Blue.Vegyn's fourth studio album, Blue Moon Safari, was released on April 12, 2025, via Parlophone Records.[47] The 10-track album reimagines Air's 1998 album of the same name, blending electronic production with the original's synth-pop elements.
Albums as Headache
Headache is a collaborative project between British producer Vegyn (Joseph Winger Thornalley) and writer/poet Francis Hornsby Clark, blending spoken-word poetry with electronic production.[48][49] The alias debuted in 2023, focusing on introspective themes delivered through AI-assisted vocal performances over downtempo and trip-hop-infused beats.[50]The debut album, The Head Hurts but the Heart Knows the Truth, was released on May 31, 2023, via PLZ Make It Ruins.[51] Spanning eight tracks and approximately 30 minutes, it explores emotional turmoil and resilience, with tracks like "The Beginning of the End" setting a melancholic tone through layered synths and poetic narration.[52] The album was produced in a concise studio session, emphasizing raw, unpolished aesthetics.[53]The sophomore effort, Thank You for Almost Everything, followed on October 17, 2025, also on PLZ Make It Ruins.[48] Recorded in just two weeks, this album expands the project's sound with more dynamic arrangements, incorporating elements of poetry and AI vocals across its tracks.[53] It reflects on gratitude amid impermanence, building on the debut's intimacy while introducing broader sonic textures.[49]
EPs, mixtapes, and compilations
Vegyn has released a limited number of EPs under his own name, often through his label PLZ Make It Ruins, showcasing experimental electronic sounds and collaborations. His debut EP, Janhui (2015), was issued as a 12-inch vinyl featuring four tracks that blend ambient textures with glitchy percussion, marking an early exploration of his production style influenced by IDM and downtempo elements.In 2021, Vegyn followed with the Like a Good Old Friend EP, a house-leaning six-track release on 12-inch vinyl that includes collaborations such as "I See You Sometimes" featuring Jeshi, emphasizing warm, nostalgic grooves and melodic synth lines. The EP highlights his shift toward more accessible, dance-oriented rhythms while retaining abstract flourishes.[54]Vegyn's mixtapes represent expansive, stream-of-consciousness collections of sketches, loops, and demos, often exceeding 70 tracks and serving as creative outlets between full albums. The 2019 mixtape Text While Driving If You Want to Meet God!, released digitally via PLZ Make It Ruins, comprises 71 short pieces totaling over 80 minutes, drawing from his hard drive archives to present fragmented ideas in ambient, hip-hop, and electronic styles; a limited cassette reissue followed in 2024. Pitchfork described it as a "showcase of interesting sounds" that reveals Vegyn's process-oriented approach.[55][56][57]His 2022 mixtape Don't Follow Me Because I'm Lost Too!!, also on PLZ Make It Ruins, expands to 75 tracks across more than 2.5 hours, available digitally and as a limited cassette; it features rapid-fire BPM-tagged vignettes ranging from thrashy beats to serene atmospheres, reflecting a playful yet exhaustive dump of recent productions. Northern Transmissions noted its ambition as a "new mixtape containing 75 new tracks," underscoring Vegyn's prolific output.[58][33][59]Vegyn has not released standalone compilations as lead artist, though his mixtapes function similarly by aggregating unreleased material without traditional album structure.
Production credits
Vegyn, whose real name is Joseph Winger Thornalley, has earned acclaim as a producer for his contributions to high-profile hip-hop and R&B projects, often blending electronic textures with emotional depth. His breakthrough came through collaborations with Frank Ocean, where he provided key production elements that helped define the atmospheric sound of Ocean's 2016 releases. Beyond Ocean, Vegyn has worked with artists like Travis Scott and JPEGMAFIA, applying his signature glitchy, ambient style to tracks that push genre boundaries. These credits highlight his role in bridging underground electronic influences with mainstream rap and soul.On Frank Ocean's visual albumEndless (2016), Vegyn served as co-producer on the tracks "Slide on Me," "Rushes," and "Rushes To," contributing to the project's immersive, experimental vibe.[60] For Ocean's companion album Blonde (2016), he co-produced the pivotal track "Nights" alongside Ocean, Michael Uzowuru, and Buddy Ross, layering keyboards, drums, and arrangements that underscore the song's shifting moods from nocturnal introspection to euphoric release.[61]Vegyn's work with Travis Scott demonstrates his versatility in trap and psychedelic rap contexts. On Scott's Astroworld (2018), he provided additional production on "ASTROTHUNDER," enhancing the track's cosmic synths and interstellar atmosphere through subtle electronic flourishes co-created with producers like Frank Dukes and Thundercat.[62] This collaboration extended to Scott's UTOPIA (2023), where Vegyn co-produced "MY EYES" (featuring Bon Iver and Sampha) with a team including Wheezy, WondaGurl, and Buddy Ross, crafting a haunting, orchestral backdrop, and "Parasail," adding buoyant, dreamlike elements to the album's expansive soundscape.[63]In experimental hip-hop, Vegyn produced "Rap Grow Old & Die x No Child Left Behind" on JPEGMAFIA's All My Heroes Are Cornballs (2019), infusing the track with warped samples and glitchy beats that amplify JPEGMAFIA's chaotic lyricism. Earlier, he co-produced "STFU" on Aminé's debut Good For You (2017), delivering a playful yet introspective pop-rap groove with Aminé himself.[64] For AAP Mob's *Cozy Tapes Vol. 2: Too Cozy* (2017), Vegyn contributed additional production to "RAF" (featuring AAP Rocky, Playboi Carti, Quavo, Lil Uzi Vert, and Frank Ocean), bolstering the posse cut's luxurious, hazy trap energy alongside Dun Deal and Michael Uzowuru.[65]More recently, Vegyn co-produced tracks on Dean Blunt and Elias Rønnenfelt's collaborative EP lucre (2025), including the guitar-driven "5," where his electronic touches complement Blunt's lo-fi aesthetic. These selections represent Vegyn's broader impact, with over 190 production credits across genres, often emphasizing subtle innovation over overt bombast.[66]