Interview with Kelvin K - - 11th Hour Technology

Kelvin K was born in London, England and has been in the United States since early childhood. His DJing career started in the early 90's after then-room mate DJ Adonis brought home two beat up tables and a mixer. Starting in 1992, Kelvin had the opportunity to practice his skills spinning occasionally with SF great's Jeno, Ernie Munson, Josh, and Adonis at the San Francisco icon, Housing Project. Shortly after, Kelvin moved to Philadelphia and had the good fortune to become friends with DJ's Josh Wink and King Britt - an exposure that led him to continue to hone his skills and distinctive ear.

After moving back to the West Coast for a year, Kelvin moved back to the East Coast with DJ Adonis to open GrassRoots records. During this time, he played a weekly (Saturdays, Treehouse) as well as managing and buying for GrassRoots. It was during this time that the GrassRoots DJ's started House of Rhythms, a three and a half year live mix show on WPAL, and Kelvin K was credited with being heavily responsible for the rise of deep house music in the Southeast.

Recently, Kelvin has again returned to the West Coast and has started testpress.com, one of the premier deep house and garage oriented stores on the net. In addition, he has had a Saturday residency at San Francisco famed house venue The Top (Haight/Ashbury). Kelvin and DJ jonbrown also host testpress radio on-line - a weekly internet mix show featuring Kelvin, Jon Brown, and guests from around the globe.

Kelvin is currently in one of the leading sound engineering programs in the nation and is learning to take his love of house music to the next level - producing. It is now that Kelvin is focusing his efforts on more traveling and spinning away, and we hope that you may consider his talents.

11th-hour What is Testpress, and what is its mentality? Who are you, and what are you all about?

Kelvin K : Testpress is essentially a resource. What I find generally is that there are so many of us in the states that appreciate quality dance music but have no sense of community or source of information about the culture in general (outside of our own geographic area). There are also loads of people who have no real access to the music and culture at all, primarily because the U.S. majors are really too clueless to have given it a chance.

It's a different situation than in Europe, where the music is a part of mass culture, so people have a choice about what they want to get into. Here, it's basically "take what you are given and like it", and we wanted to give people another option. Our guiding mentality is to stay true to the music that we love and that's about it...I am not interested in the politics of the club scene, who's the "big" DJ etc...we are just about supporting good music.

I should also say that it has always been my aim to draw attention to the quality of American dance music, because I think that so often people make the mistake of thinking that dance music is bigger overseas because it is better music. That is simply not the case, and we need to remember where it all came from.

11th-hour What was the motivation for founding Testpress, how did it come about?

Kelvin K : A consuming love of House music is really what motivates me. I can honestly say that I have never focused on a serious "business plan" with regards to Testpress. I have always been keen on promoting the music that I love to other people, and to giving the music ultimate respect. Fortunately I met my friend Jon and he had the technical know-how to make Testpress a possibility.

As testpress has grown, we have both learned a lot about both sides of the venture (technical and music) and had a good time. It is loads of work, but we have a passion for it. Most people are unaware though that the original "Testpress" was a paper publication that I did at Kinko's with the help of some friends...we distributed it around our small town in Charleston, South Carolina when I had a record store there.

11th-hour How do you promote what you are into? How do you push the people you believe (including yourselves), within the scene?

Kelvin K : I think of as many ways as possible to promote what I like. That is why I find the web so interesting...where else can you use so many mediums and reach so many people without the standard geographical or monetary limits? As far a pushing people within the scene, I have a different philosophy than some. I don't really concentrate on pushing "people" as much as the music itself. I feel that if you focus on the music, then the people around it fall into place. I know many people find this strange and most do push in the scene...but as I said, I don't really care about the "scene". I care about good music leading it. For those who take this route, it is definitely a slower process, since you are always putting the music before yourself and others...so it's not for those who aim to rise to the "top". But, it does build a strong foundation around you of people who feel the same way, and they generally tend to be the ones most involved in the music anyway. Ironic isn't it.

11th-hour What criteria do you use to decide whom to support/promote through you your web site?

Kelvin K : The bar is high. I have to feel that people are really into it for the music. They also need to understand its roots and pay respects to those that paved the way for us. That last point is really the defining one...I could never claim to know everything about this, but I do realize where this music has come from, who has helped it grow and what the message in the music is...and it's not about the "scene". If someone is trying hard to represent that idea, then I am pleased to hook up with them. Generally, I make it a point to work with sites that are another resource, giving people a lot of information and choices of other related places to visit...I am not much into linking up with people who are just promoting themselves.

11th-hour Who do you support through your web-site, and whom would you like to give support to?

Kelvin K : I support lovers of good House music. I definitely want to give support to as many people in as many different countries as possible who are trying to spread the music and the message. We support people who have been contributing to the advancement of House music. I would like to support anyone who has made it a point to try and help our music along, whether they are a big name or not.

11th-hour You have been involved in the deep-house scene for a long time now; you have seen it progress and change through the years. How do you evaluate it as a scene and sound, and why are you dedicated to supporting it through your site?

Kelvin K : That is a tough question. I have memories of the culture when House just hit the West Coast...it was a completely brand new experience for everyone, so there was a sense of idealism and family that I think is now probably unparalleled. We were REALLY on the fringe of society in the U.S. at that time, and there was a feeling that we were leading the way for a whole new culture in America.

Turns out that was true. But, as with most things, the idealism became tempered with reality and age...now I see this music as not really being the force that is going to change the world, but more as a form of music that people can relate to in a way that might change their motivation in life. If you listen to the music being created by those who we aim to support, there is a common theme. We are all talking about love, struggles, spirituality, desires, hope, disappointment...sometimes with words and sometimes without them. Truly learning about and loving House means learning about all of these things and remembering that the music is a beacon that guides the way.

With regards to the scene in my early days, I think that the majority of people shared this feeling...in other words most of us were true "heads". These days, there are still just as many people who truly feel the music, but there are also a lot more people into the "scene". It's that "scene vs. heads" thing again. So I find myself going out a lot less and being much more picky about where I go. Our scene is healthy, don't get me wrong...it's just that it's more fragmented. As far as the music goes I want to say this emphatically...it is still STRONG! One thing I do regret is that some of my friends from "the day" don't seem to be able to let go of the records that moved them ten years ago and open up to the ones that can move them today. The music goes on.

11th-hour Where can Testpress DJ's, and Testpress linked DJ's be found playing?

Kelvin K : Globally. Small venues and big clubs. I will be in the U.K. in March it seems and really want to start focusing on traveling more to Europe. I always enjoy playing there. We just started a Sunday afternoon party in the East Bay called "It's About Time" that has had a really nice turn out. But there are DJs all over the world who buy music from us, and I think they really represent Testpress.

11th-hour Who do you all respect in the scene at the moment (DJ's or producers), and why?

Kelvin K : Farley "Jackmaster" Funk, Eddie "Flashin'" Fowlkes, The Untouchables, Todd Terry, Kenny Dope, Rheji Burrell, Rhythm is Rhythm, Phuture, Tyree, Marshal Jefferson, Fast Eddie, Chip E, Tyree, Jeff Mills, Robinson-Wall Project, DJ Pierre, Robert Owens, Blaze, Tee Alford, King Britt, Loleatta Holloway, Robert Owens, Byron Stingily, Sounds of Blackness, MAW, DJ Disciple, Basment Boys, Tony Rodriguez, Orbital, LFO, Kraftwerk, Ten City, Adonis, Bobby Konders, Brothers In Rhythm, Tony Humphries, Paul "Trouble" Anderson, Tedd Patterson, Jay-J and Chris Lum, Marcia Carr, Frankie Knuckles, Larry Heard, Strictly Rhythm, Nu Groove, Nervous, Wicked possee, Roger Sanchez, Victor Simonelli, House 2 House, B.O.P., Chicago, Detroit, N.Y, London, San Francisco, Paris, Claudia and Judy and Downtown...and the hundreds of DJs, labels and producers that I am not mentioning who have been and continue to be a driving force in regards to the music.

Kelvin K : I think that it is just a matter of time before radio as we know it suffers a large drop in listenership. I have done some studying on this and it seems that the advent of the "top-40" shame really spelled the downfall of radio over the long haul. The system simply puts music as a second to commercialism and reflects a general lack of depth. One thing that the club/rave scene has done and continues to do is bring a huge part of the music buying population in touch with music that is never going to make it into the top 40 scheme...so they have to go elsewhere. College radio is great if you live near a good school with a decent program schedule, but more and more of those people are going to go to the net. As connections get better and computer makers begin to market the computers as part of the home entertainment system, the inevitable decline of modern commercial radio will manifest. As far as I am concerned the sooner the better...they made their bed.

11th-hour What has the feedback been like from your own Internet radio show, which runs all during the week? How do you see Internet radio as a rival to clubs in terms of the range and diversity of music available to the listener?

Kelvin K : We have had amazing response from literally all over the world. It really is encouraging to get an email from Iceland praising your mixes. That goes back to what Testpress is all about. As far as clubs go, I don't really see that they will compete, just perhaps work in tandem. I don't think anything can really replace the feeling of being in a club with a nice system and that whole vibe that goes with it. But, I do think that more and more people who own clubs will start to see the advantages of turning their clubs into net broadcasts as well. Essentially, clubs become radio stations and our whole little culture continues to grow despite the efforts of the RIAA to keep it down.

11th-hour Do you think that the exposure that the Internet provides to ANY producer/DJ/promotor, both discovered and undiscovered, will raise standards and expectations in the scene?

11th-hour Do you think that such an equality on the Internet will always exist, or do you think that the majors will end up dominating the Internet as well in the future (in particular reference with the difficulties of getting listed in some search engines without the sufficient 'resources')?

Kelvin K : The internet has already disappointed me in this way. In fact, I don't much like where it is going. As you referred to, it is now becoming another big corporate take-over. I have to admit that I place much of that blame on the very people that make it work. Greed is more often referred to as "ambition" in cyberspace, but I know greed when I see it.

The majors are already working furiously to join forces with internet companies and I do see them moving into main stream households and asserting their stronghold on consumers. But one thing to remember is that they no longer control the mindset of all music consumers and artists, and that is where they really had it going. They can't take back the fact that the internet is exposing people to music that they don't yet have. They can't take back the fact that producers are now able to shop music internationally without their assistance to independent labels who don't face the same obstacles they did prior to the net.

So, yeah, most people will be sucked in and continue to follow the neat and narrow path laid out for them by the majors, even on the net. But each of us has the opportunity to tell them about their options more easily on the net.

11th-hour How do you compare the scene in California where you are based with that in the UK, or the way you perceive the scene to be like in the UK?

Kelvin K : Variety. There seems to be much more variety in terms of the types of dance music that you can hear on any given night in the U.K. I also recognize that traditionally American sounding House music, especially strong vocals, is much more readily embarrassed in the U.K. The irony, though, is that much of it is coming from over here. I do think that San Francisco has definitely developed and matured and is now putting out some quality music. We are trying hard to move beyond that lame "San Frandisko" stereotype. I never used that term...seems like only people not from here refer to it that way.

11th-hour Do you see the sudden upsurgance of the San Francisco house sound as a fad pushed by the media (especially in the UK), or as the genuine beginnings of a whole new sound and scene, like for example, that of the Chicago House sound?

Kelvin K : I think that it is a genuine sound of its own, and I do think San Francisco will definitely establish a place for itself in the history of House music. What is interesting about this sound is that it really is a melting pot of influences. About 70 percent of San Franciscans are originally from somewhere else...we have a huge international influence, and the English kids were definitely seminal in the development of our scene from the start. But there is also a huge population of people from the Mid-West and East Coast and everywhere in between. Then, the city also has a great racial diversity, and a history of leftism, hippies, and gay culture. All in all, that makes for a great recipe for some very interesting House music, and I think you are seeing that in the success of this sound internationally.

11th-hour To quote a previous interviewee (Kenny Hawkes), "Before it was 'The MUSIC-business', now it's 'The music-BUSINESS'." Discuss.

Kelvin K : First off, much respect to Kenny. Barumba is one nice party. I think he is right, but I also think that our perspectives may differ due to our location. I think he is saying that music has taken a back seat to the commercial aspect...business. This is definitely something that we should all be weary of, and I said earlier that I always put the music first. But from here it seems like a decent problem to have.

We look at the U.K. and it has a booming dance music culture that has hit the mainstream. There are problems with that, as he alludes to, but there is also a strong underground in the U.K. that is supported by this huge mainstream knowledge of dance music. Here, there is no support like that, which is why most of our guys fly over there to make a living. I would like to see our music become more of a business here, because I think that, regardless of what problems may come from that, it is essential to the success of our music in the U.S.

I also think that it is inevitable that you are going to encounter people involved with music who put it second. They don't understand and never will. But what is going on here is interaction between me and you, who have never met, because of our involvement with this music. That will always be the case too, so you just have to be careful and find your people.

11th-hour How does the scene across all genres vary across the whole of the USA and why?

Kelvin K : Well unfortunately, there isn't a great deal of variation with regards to the people going to clubs and raves. We are mostly talking about white kids who grew up in white culture. I find this sad, because it has altered the whole experience. For various reasons, the classic House sound has become hybridized into a format that more closely reflects white experiences of music...I personally think this is why Trance has become the most popular form of dance music now.

In the U.S., this had a lot to do with the fact that the majors decided that Hip-Hop was what they would market to urban culture. In their sordid, brainwashing ways, they have created a mind-set where most young Black Americans think of Hip-Hop as "their" music. We could get into a whole conversation about the politics of this, and the basic screwing over of the Black population in general in U.S. history, but I think it has left its mark on our scene. The irony is that now loads of white kids think they started this music, black kids think its music for white kids, and gays don't even feel comfortable going to parties that they were essentially responsible for fostering here. I blame this mostly on the marketing schemes of the RIAA.

11th-hour How important and powerful a role do you see the Internet playing in the dance music scene both now, and in the future?

Kelvin K : Essential. Dance music is about people coming together across boundaries and I hope that the internet will help facilitate this. I am seeing a whole new communication channel opening up, and people are starting to see that this thing is much larger than they are. That is definitely a good step.

11th-hour What are your plans for the future (both for Testpress and yourself)? Where do you see Testpress, and yourself in five years time?

Kelvin K : I would like to have a house and kids and a wife. I would like for testpress to still be a big part of that life, and hope to be making a modest living doing what I love. I would also like to spend some time living in Europe and establishing more roots there, as I have E.U. citizenship. Ultimately, I hope that whatever happens with me and testpress people will say that we tried to promote a positive attitude about life.

11th-hour Is there anybody that has supported or influenced yourselves that you would like to thank?

Kelvin K : This would be a really long list, as I owe so much to so many people. I would like to give praise to the Creator without whom I would be lost. You can fill in the blanks on who the Creator is, it doesn't really matter to me.