MDC Interview#69 " Lil Kevo 303 "

American electronic musician Lil Kevo 303 is from Boston and specializes on the drum & bass subgenre. Lil Kevo 303 has established himself as a key player in the underground electronic music industry with his distinctive sound, which combines eerie melodies with powerful beats.

Lil Kevo 303 makes experimental music that is both approachable and influenced by several genres, such as hip-hop, industrial noise, and classical music. His music is distinguished by delicate melodies, complex rhythms, and intriguing soundscapes that take listeners to distant places.

Lil Kevo 303 stands out in a genre that is frequently characterized by its relentless energy and intense rhythms for his capacity to produce music that is both potent and reflective. He infuses his music with a feeling of sensitivity and emotional depth that is uncommon in the realm of electronic music, whether he is performing live or recording in the studio.
https://lilkevo303.bandcamp.com/

Q. Could you tell us about where you're from? What kind of environment did you grow up in?

I am from a town in Northeastern Connecticut called Litchfield.

I grew up very close to the White Memorial nature preservation. In retrospect I feel very fortunate I was able to grow up being so close to nature.

I think all or most of my early musical influence comes from video games, metal concerts, and the internet.

Q. What was your childhood like? What kind of things were you interested in as a kid?

When I was a kid we played alot of Nintendo 64 and Gamecube. As well as scooters, bikes, fucking around in the woods, etc.

As I got older I became interested in modifing Gameboys. My first DAW was LSDJ around the age of 14.

Around age 16 I tried all of the DAWs at the time (Ableton, Cubase, Reason, Acid, Renoise). I always felt that Renoise made the most sense to me because of my prior use of LSDJ. Also I was a huge Venetian Snares nerd in high school and wanted to use the same software as Aaron Funk.

Q. When did you first become interested in music? What kind of music did you enjoy listening to at the beginning?

I played so much Gameboy Advance, Nintendo DS, Gamecube, and N64 growing up. I don't think I realized at the time that the soundtracks for F-Zero GX, Super Monkey Ball 2, and Animal Crossing would be my first encounters with Drum n Bass, Rave, and Reggae music.

I have a vivid memory of my friend Justin saying '"hey Scooby listen to this" (my nickname being Scooby) and putting some Turtle Beach headphones on me while I ripped a bong. This would be my first time hearing Deadmau5's 'Strobe'.

We used to stay up late smoking weed and playing Xbox 360 and I would fall asleep high as fuck listening to Strobe.
When I was 15 or so I went to see Five Finger Death Punch at The Chance in Poughkeepsie NY. This was my first time crowdsurfing and maybe my first taste of high energy live music.

Bands I saw live in Highschool (Slipknot, Mushroomhead, Five Finger Death Punch)

Other bands I loved in high school:

Skinny Puppy (Too Dark Park, Rabies, Mind: The Perpetual Intercourse)

Dark Moor (Hall of Olden Dreams, At the Gates of Oblivion)

Q. How did you discover the kind of music you make now, like Hardcore Rave Music & Breakcore?

When I was 16 someone in my school named Mike told me about a metal style called Djent which used irregular time signatures (Periphery, Animals as Leaders). I started to write compositions in LSDJ using irregular time signatures inspired by this music. I then looked into other electronic music with unusual time signatures and found Venetian Snares.

This was probably around 2010/2011. I had no concept of rave history but I would listen to Venetian Snares (My So Called Life, Detrimentalist, Filth, Hospitality, Fool the Detector) and Rustie (Glass Swords) everyday.

Q. How did you go about learning more about the history and background of these genres? Do you remember your first club event or rave experience?

When I was 17 I moved to Boston. I was able to see Rustie at the Middle East Downstairs in 2013 when he toured for Glass Swords which had a huge impact on me (I still have the ticket!)

Around the same time (2013-ish?) I went to a record fair and by chance Dev/Null was vending there. I bought this record from him (Hard & Pure – The Pure Darkness E.P) because it was the closest thing I could find to Venetian Snares. It was at this time that I learned that jungle was a thing before Venetian Snares.

Q. Can you share your Top 5 music works that have influenced you the most?

1. Rustie - Glass Swords (2011)

2. Venetian Snares - My So Called Life (2010)

3. Mole The Dipper - Mixed Biscuit EP (1993)

4. Rustie Essential Mix (2012)

5. Dev/Null BTTO October 2015 Happy Hardcore Special

Q. What kind of music activities were you involved in before Lil Kevo 303? And where does the name “Lil Kevo 303” come from?

I had a previous alias Ancient Origin. I remember meeting a cute girl, but when I told her my DJ name was Ancient Origin she lost interest. It was at this time I decided to change my name to Lil Kevo 303.

Q. What kind of music activities were you involved in during the COVID-19 pandemic? What was going on around you during that time?
It seems that some raves still took place during the pandemic. were there any that stood out to you during that time? How do you think the scene around you has changed before and after the pandemic?

During Covid I worked at The Scoop n Scootery Arlington 3 days a week. When I wasn't working I would turn my phone off and make music every day. At night time I would rollerblade on the streets because no one was driving at the time (they had also recently repaved a huge hill near my house: yippie!!!).

Because I had no other obligations during this time I was able to totally focus on music and I think I was able to write some nice stuff (The Taste of Food is my Reason for Living).

I was invited to a few parities but did not attend any. I was worried about getting sick and missing work.

I also ate lots of Brazilian food from Olivera's Steakhouse in East Somerville!

Q. Can you walk us through your music production process? What software do you mainly use now? Do you have any favorite plugins, speakers, or other gear?

Every Lil Kevo 303 track is made in Renoise 3.2.1 on a Linux computer. I have never enjoyed using plugins and have never used them on any Lil Kevo 303 track. I use only native Renoise DSP and external gear.

I think good monitors are very important. 2 years ago I got Neumann K310's. The precision and accuracy of the speakers are excellent. I use a Colmann monitor switcher and Auratone 5C Actives to ensure my mixes work well on all types of speakers.

Elektron Analog Heat - I love distortion but hate the noise floor that typically comes with it. The Analog Heat is excellent in that it has an envelope follower that can be routed to the drive. This allows for high levels of distortion with 0 noise floor.

I have 2 types of track process:

Process #1

The track is written, mixed, and mastered in a 24 hour window. Typically this is a one 10 hour session, but can be as short as a single 2 hour session. It could be two 5 hour sessions in between which I sleep.

Small breaks for food, bathroom, or maybe a run/walk.

This process is effective in that the idea transmitted is very coherent. But it can be difficult because my life is very hectic and I cannot always block out a 10 hour chunk of time! I used this process often during Covid because I had so much time at my disposal. This process's other fault is that because there is no play testing at gigs, is possible that a passage or sample could be adverse in a club environment as it is made totally in the moment.

Notable Tracks made in this process:

Sunken Egg 175iv, Hitori Yaki Tori 205s214f, Ushi Ga Suki 214f187f

Process #2

The track is made over multiple sessions that can be up to multiple years. Track is played out at shows and revisions are made based on crowd response. This process allows for more refinment at the expense of being less cohesive.

Notable tracks with this process:

Baby Baylon 194iv, Darkness Guru 175iv, Blood Featherz 200iv

Q. You use samples from reggae sound clash, what do those samples mean to you?

Jamaican soundsystem and soundclash culture is the predacessor to modern western soundsystem and DJ culture. I think the MCs (especially Bass Odyssey) have wicked dictation and I love the vibe it creates.

Q. When you're making a track, where do you usually start? Do you begin with sample selection or beat programming? And on average, how much time do you spend on a single track?

I don't think about anything I just sit down infront of Renoise 3.2.1 and start pressing keys. What happens, happens. A track could be made in a single 4 hour session. It could also be made in 8 sessions over the course of 3 years. It's always different and changing for me.

Q. What’s the most enjoyable part of producing music for you? And what’s the most challenging part?

I most enjoy starting a track and finishing a track. It's very fun to start a track because you can populate the sonic space without any limitations. Finishing a track is nice because you have the satisfaction of finishing a piece.

In my current methodology, I find that preparing the track for a soundsystem is the most challenging part. It is the least artistic but most scientific part of the process. It's the least fun but I find motivation to carry through with the process because I know that it will make a big difference when I play the track for a crowd on a big soundsystem.

Q. Your approach to Footwork is really fascinating. What do you keep in mind or focus on when creating Footwork tracks?

2014 was a big year for me; I was practicing alot and made alot of progressions in production I was happy with. This was a peak year for Teklife and I used to travel from Boston to NYC just to go to Teklife parties.

I still listen to footwork but I don't think it will ever have the same effect on me as it had back in 2014-2019.

I don't focus or keep anything in mind when I make toons. I've just listened to so much footwork back in 2014 so consequentially my toons sometimes sound like footwork.

I don't really consider my music footwork as I'm not from Chicago or have any direct lineage to the original sound / culture. Maybe it could be considered footwork inspired.

I think DJ Rashad (RIP) is the greatest to ever do it.

My favorite footwork releases:

DJ Rashad - Rollin

DJ Rashad - 6613

DJ Spin - Off That Loud

DJ Nate - Da Trak Genius

Pencil - Do you Know Footcore?

My favorite footwork track:

DJ Rashad - She A Go

I am also a very big fan of DJ Godfather. The Chicago Ghetto Tek sound is considered the predecessor to the footwork sound in many regards. I own much of the Twilight 76 catalog on vinyl.

I am also a very big fan of Fracture. There was a time in 2019 when I felt like every DJ was playing Fracture (atleast at the parties I was going to). It might not be true footwork but I think in 2019 Fracture pushed a very high quality 160 bass sound that helped me actualize my sound in a broader club environment. IMO much of the actual Chicago footwork lacks the engineering of real soundsytem music but I feel like Fracture was able to capture much of the footwork essence while maintaing the high engineering quality of UK bass music.

Last year I met DJ Manny through my friend Manapool. I booked him for my TOONZ FROM THE CRYPT party at Trans Pecos Brooklyn which was a really big deal for me.

Q. Among all the works you’ve released so far, is there one that holds a particularly special meaning for you?

It had been a long term goal of mine to play in France. So when Brutal Slaps Academy booked me in Paris for the first time in 2023 it was a big deal for me. At the time a Frenchman named Funesto was the connection between me and Brutal Slaps Academy. He descibed my own music to me as a baby chainsaw and drew for me what would become the cover art for Baby Chainsaw.

Q. Have you ever played at Boiler Room in the past? If so, what was that experience like for you?

I played for Boiler Room in Boston in October 2023. Big shout out to my amazing friend Justin Replicator, who booked me for the lineup.

I had a very positive experience. The organization was very professional and the execution of the production was done very well. The crowd was wicked and it was my first time playing on a Function-One system.

It was definantly easier to book gigs after that!

Q. How do you feel about the current state of the US Hardcore Rave Music/Breakcore scene? And how would you like to see it evolve in the future?

We need more venues!!!

Q. What are you trying to express through your music? What does making music give you in return?

For me, music is my response to my nihilistic attitude of the human experience. Why work hard every day and deal with the pains of human life? Eventually humans will become extinct, why not kill yourself today?

Q. Any artists, labels, or events you’d recommend lately?

Artists:

DJ Panic (Holland)

listen to 'Early Rave Addict' and 'Music from the 90's'

Millyz (Massachusetts)

listen to 'By My Lonely' and 'Kobe Season'

Events:

Impact! Foundation (Seattle, WA)

Reactionary / Fukdup / Kenny G Unit (Portland, OR)

Brutal Slaps Academy (Bordeaux, France)

Ravefurrest (Nashville, TN)

Helltek (Brooklyn, NY)

Q. Any message for the readers?

I am straight edge. I don't want to encourge anybody to smoke weed / do drugs / drink. Drugs and alcohol negativly affects my ability to produce / DJ and I generally consider it a waste of time. But I want to be honest with the readers about how I grew up which is why I mention it in this interview.

Reccomended Listening:

Dixie Chicks - Landslide

Mitsunori Ikeda - Fallen Angel feat. Aimee B

The Flasbulb - Pastorial Whiskers

Chaos A.D. - Psultan (Squarepusher Remix)

Squarepusher - Theme from Ernest Borgnine

Squarepusher - Tundra

Aphex Twin - Ziggomatic 17

Drexciya - Digital Tsunami

Drexciya - The Plankton Organization

Drexciya - Hi Tide

Coki - Spongebob

Coki - Goblin

Mavado - Gangsta 4 Life (Coki Remix)

Blackjack - Alcohol (Instrumental)

Dillinja - Shiners

Moresounds - Shut Up

Original Sin - Therapy

Cybernators - Open The Door

Scott Brown - Rock You Softly

LU-I - Factor Analysis

Braindead - Killer Instinct

Burial - In Mcdonalds

Burial - Etched Headplate

Nobuo Uematsu - Awakened Forest

Natsumi Kiyoura - 十九色

Natsumi Kiyoura - 悲しいほど青く