Interview with Kenneth Graham - 11th Hour Technology

Kenneth Graham emerges from the endless stretches of Los Angeles with a sound vision. Like others of his creed, KG’s cynicism about the state of the underground scene, or lack thereof, manifests itself in a creative flow. The transcendental core of his approach frees him of the aesthetic constraints that limit most and propels him across the frontiers of experimental electronic music, establishing a diversity of range rarely found in the industry.

As a producer he is primarily driven by a desire to create timeless tracks and doesn’t concern himself with chasing trends. A producer must be aware of certain trends but I don’t believe marketing belongs in a studio, that’s the job of an agent after the fact. The personal struggle not to give in to popular demands is always difficult but that does not necessarily mean that a popular sound will be shunned just because it is so.

The tech-house sound has been adopted by KG but for intelligent, not superficial reasons. Attempts to impose rigid classifications on his work also seem to disturb KG. He perceives a strict categorical breakdown of the movement as digressive, as missing the point really. Unfortunately for marketing purposes I’m forced to settle with catch-alls like ‘techno’ and ‘tech-house’. I feel the connotations these terms carry impose too narrow of a definition on my music. In actuality I incorporate a variety of influences and sounds into my tracks, a process which I feel makes the product more complex than these terms imply.

Advances in technology, new gear and the exploration of new capabilities, on the other hand, he sites as sources of inspiration. A constant turning over of equipment has thus been the modus operandi throughout the years. His interest in electronic music dates back to some time in 1985 but his introduction to music goes beyond that, giving him a consummate musical background. As might be expected, a traditional music education was initially rejected and instead he opted for the self-taught route. From piano lessons he went to playing guitar in a punk band, then to buying his first synthesizer. KG’s musical ambitions are however assisted by a formal education in electronics engineering.

Working with what he has at any given point in time, he won’t hesitate to modify his gear to achieve a desired result. For KG it isn’t necessarily about having the latest, most advanced pieces of equipment available en masse. To the contrary, he’s often found that his most inspired work has been done with less. Older analog synthesizers are often key components in his compositions. Additionally, his first nationally distributed record, KG Beat (Breathing Engine EP, 1994), was recorded with an Emulator III straight to DAT.

KG’s expansive creative course not only enhanced his musical innovations, it also launched him into the realm of multimedia. His brainchild, Controlteam Music and Media, was among the first to provide live mixshows to a worldwide audience via the internet. The development of the Controlteam website, and subsequently the live internet mixshow Terraforms, where you can catch KG on a regular basis, are just some of the ways he strives to promote underground electronic music. We launched Terraforms because we felt the music was being compromised, that it was giving in to mainstream pressures. Many in the industry don’t seem to realize the impact that their actions have on a collective level. They should put more thought into defining their message and not simply buy into the latest trends. It’s impossible to transcend, to progress, when you take that approach. As a producer as well as a performer Kenneth Graham embodies this attitude with a dynamic and largely unconventional style. The diversity of his sound - from ambient to tech-house, from trip-hop to techno - is simply a reflection of this same aesthetic integrity. Transcendentalism, integration and experimentation are the themes behind his method. The result is pleasingly unpredictable.

11th-Hour When you first started to experiment with electronic sound equipment, what did your production sound like?

Kenneth Graham Sometime around 1984. around 85 I had a four track drum machine and 106. The trax we're on the 80's techno tip. Somewhat minimal, but definetely melodic.

Kenneth Graham It used to be all about the fat sounds but now I look at everything in 3 dimensions, the sounds themselves, how they talk to one another (the groove) and how they mix together. Before, the technology really didn't exist to really nail it out, everything was fixed (hardware sequencers) or really unpredictable (Ez Track ST).

Kenneth Graham My favorite right now is the nord 2, but I use my E6400 for everything, drums pads, etc..

Kenneth Graham A strange mix really from a cutting edge standpoint, Kraftwerk. But from the deep & melodic, Sade.

Kenneth Graham Why does everyone ask me this question? What it all comes down to is Soul.

11th-Hour In a perfect world, where would your music be played, and who would be listening?

11th-Hour What is the mentality behind your ‘Control Team’ multimedia project, and why did you start it?

Kenneth Graham It actually started out as a hacking crew around 1992, I ran a BBS called Data Control. Just kinda progressed into a label.

11th-Hour What other DJ’s and producers arouse your interest at the moment?

Kenneth Graham I was in NYC last weekend and heard Mike Bryant from Intrinsic Design for the first time. That's a serious head, dedicated and underapreciated.

Kenneth Graham No residencies, although it would be nice. I'm all over the place.

Kenneth Graham I really don't like to tip my hand like that, everyone will just have to wait. I change my mind way to much anyways.

11th-Hour Not all of your records are easily available in this country (UK), how do you suggest we go about getting them?

Kenneth Graham I guess over the internet, thru Sonicgroove or Sattelite, or wholesale the Watts or UCMG.

11th-Hour If the world were to end tomorrow, what one record would sum everything up for you and why?