• About A Band: Knxwledge

    “I go by Knxwledge, beatmaker.”

    That’s how Glen Booth kicks off our interview—but if the past year’s any indicator, he soon won’t be needing much of an introduction.

    Born in Philadelphia, raised in New Jersey, and now based in Los Angeles, and producer and musician who nows go by Knxwledge got his start post remixing and bootlegs to Soundcloud back in 2009. Before long he caught the ear of indie hip-hop stalwart Stones Throw Records and the attention of artists like Kendrick Lamar and Joey Badass, who tapped him to produce (yes, that’s Knxwledge’s hand on To Pimp a Butterfly’s “Momma”). Most recently, he’s got a track on UO Mixtape: Volume 8, the latest installment of our limited edition cassette tape, and the critically acclaimed vinyl release Hud Dreems.

    We caught up with Knxwledge to talk vintage VHS, beat tapes, and working with Kendrick.
    Photos by Lindsey Best

    Did you approach Hud Dreems differently than the beat tapes you’ve released?
    No I didn’t at all, no different approach. There was some stuff that I was saving for my next vinyl release, but no guidelines or rules on how shit should sound or what I should use.

    What’s your production process like?
    It’s all wax over here. And I just run everything through my mixer: TV, video games, all that. I just got my trifecta back, my vintage systems back, so I’ve been in there a lot. But I never bought records from stores, I always got them from my cousin, so I used the TV and radio a lot. My dad actually brought a bunch of wax and VHS tapes from Jamaica in his late twenties, and I actually still use it—[it has a] crazy warp tape effect.

    How did you end up working with Kendrick Lamar?
    It’s kinda random, just sitting there in my house… Both Joey [Badass] and Kendrick kinda stemmed from Bandcamp. That joint that Kendrick picked was on the Stones Throw anthology—he was actually doing a photoshoot with my homie Eric Coleman for Complex, who had the anthology cassette playing. And Eric said he actually has footage of him playing it and giving him my number, and about a year and a half later I got some text messages back and forth.
    What’s the sample on “Momma”?
    It’s Lalah Hathaway, and once we went to clear it, she actually came in and laid extra vocals over her sample.

    What other projects are you excited about?

    I have some tracks coming with Prodigy, Action, and this Anderson Paak project is going to production soon.
    You’re on our July cassette tape with Anderson Paak doing Suede; when can we expect the debut EP or LP of the Nxworries project?
    Pretty soon. Every time we get up to mix and stuff, we end up making a new track instead of focusing on the current stuff we already made. But that’s kind of a blessing, to be able to work with someone like that. He kills it every day, sounds like a record in one take. It should be a good sounding record, [with some] gospel, soul, funk.

    I noticed tags like TWRK and WTT on different tracks, do those indicate something different about the track?

    That kinda just helps me organize stuff. The TWRK stuff is usually a remix, and its usually more hip-hip, not so R’n’B. The WTT stuff is more laid-back and jazz. I just do it because I have thousands and thousands of files; every day I just sort through from older versions of Live.
    Who are some of your favorite producers right now?
    Mndsgn, Roc Marciano, DJ Harrison, Earl Sweatshirt, and Alchemist.

    Lightning round! Ableton or Logic?

    APC, MPC, or MPD?

    DJ controller, Serato, or vinyl?
    Serato and Live—a lot of times I’ve just done some stuff that day so it’s easiest to just play it out of Live.

    Air Max or Sk8-Hi?
    Air Max, 95, 90, 97. I haven’t bought my first pair of Sk8-Hi’s yet. I definitely have, like, 14 pairs of Air Maxs though.

    Shop Knxwledge's Hud Dreems LP