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.

2025.06

MDC Interview#69 " Lil Kevo 303 "