Some artists chase momentum. Kidnap, the project of UK producer Matt Relton has spent the better part of a decade doing the opposite: slowing down, stripping back, and finding more in less. From early releases driven by an urgency to get his music heard, to a studio practice shaped by parenthood and a renewed appetite for collaboration, Relton has quietly built one of electronic music’s most distinctive catalogues.
His latest release, the Woven EP on Lane 8’s This Never Happened label, is perhaps his most intentional work yet — three tracks, three stringed instruments, one unmistakable sensibility. In this interview, he talks about his creative process, exploring collaboration with other artists and what a very busy 2026 has in store.
1. The Woven EP feels like a very intentional project. What was the creative spark that set it in motion, and how did it come together?
The idea for the Woven EP was to experiment with different stringed instruments and make a set of tracks using the different textures I could extract from each of them. Woven used the harp, Sewn the guitar and Dreamer the Mandolin. I was happy with how it came together, as the tracks all feel quite distinct from one another whilst still a having a common thread running through.
2. You mentioned that “Woven” started while another artist, Etherwood, was visiting your new studio. How do you find the dynamic of co-writing changes your process compared to working alone? Is it something you want to do more of?
Typically my process has been quite a solitary one, but I decided to change that last year and began inviting people to the studio to start ideas together. It doesn’t always work, but when it does it’s magic. I intend to keep collaborating as much as possible. The music is often more interesting and I’m enjoying spending time with other people for a change!
3. You’ve been releasing on Lane 8’s This Never Happened for a while now. What drew you to that label and how did the relationship start?
It came about just through being friends with Lane 8. We were talking online and sharing music in the Soundcloud days around 2012 and just kept in touch. I do love the ethos behind the label though. It is the perfect antidote to the phone obsessed world we live in.
4. You broke through early with a lot of momentum behind you. Looking back at those first years, what do you know now that you wish you’d understood then?
You have time. I was incredibly anxious to release music as quickly as possible and everything felt rushed. Looking back 14 years later I see that lasting fanbases are built slowly and needn’t be rushed.
5. You made the decision to rebrand mid-career, dropping part of your artist name and stepping into a new chapter. How significant was that shift creatively and personally, and what made the timing feel right?
It felt like the right time to update the name of the project simply because I wasn’t a kid anymore! I came up with the name when I was 15 and didn’t think I’d still be using it many years later. There actually wasn’t much of a creative shift along with the name shortening. I just carried on making music I loved.
6. Becoming a parent is one of those life events that tends to quietly reshape everything. How has that shift in perspective found its way into your music?
It certainly is. Now my time is more restricted, I feel more grateful for the time I do get to spend making music. I’m able to savour the process more than I was five years ago.
7. You launched your own label, Birds That Fly, giving yourself and others a platform for creative output. What led you to take that step, and how has running a label changed your relationship with your own music?
My music has quite a particular feel to it that doesn’t always fit neatly on other labels, so I started my one out of necessity. I wanted somewhere I could release music without having to get other people’s sign off.
8. You’ve described your production process as sculptural, starting with a block of sound and carving away. How did that approach develop, and what is your current studio setup and process?
It evolved out of a lack of knowledge I suppose. When I started making music I had very little technical or theoretical understanding, so I had to develop a process to get around that. I would make a huge mess of noise that felt exciting for a reason unknown to me and then slowly remove elements and refine until it ended up somewhere more sleek.
My studio setup is quite simple. The items I have that I use regularly are my piano, some percussive instruments and a Prophet 6.
9. Who are the artists, inside or outside of electronic music, that have had the most lasting influence on how you think about sound and composition?
In no particular order, here are some artists that have influenced how I think about sound and composition: Calibre, Burial, Four Tet, Damien Rice, David Gray, Liszt, Radiohead.
10. What does 2026 look like for you? Are there releases, shows or collaborations you’re ready to talk about?
2026 is going to be my busiest year for a good while. Following on from the EP I just released with This Never Happened, I have a few singles coming out with some really exciting labels and a few collabs too. I’m also just about to announce some international tour dates for summer.