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.
Acknowledgment of his contribution as a producer as well as a performer in the underground electronic music movement continues to grow. A personal ideal is thus reflected in his sound. The inspiration, the objective, the result aspires towards the eternal. Graham's most recognized original music productions to date include Sunkiss "unfiltered Sky" (Plastic City Germany) Mixer's #3 Album of 1998, Sunchildren Project (Peacefrog UK), Both collaborations with David Alvarado. This year his work with Steve Loria has produced 3 releases Transitions EP (Stickmen), "Nobody Stops" (Beat Non Stop, the Pacific Coast House EP), and "Feel Me" to be released on Distant Music NYC Later this year. The most appreciated white label by the jocks at the WMC was KG's and DJ Kuya's "Westward EP", on a Alvarado's new label Sunchildren. Already in rotation on Jason Bentley's weekly radio show "Metropolis" in Los Angeles. And if all that wasn't enough, KG has managed to pull of 2 solo projects for the first quarter of 1999 as well. The Gateway EP (4 track Recordings, June) and Late Night Theory (Immigrant Recordings, May), are what KG cherishes the most out of his 20 releases. Of the numerous live and DJ appearances KG lays claim to, the most noteworthy include: Computer Controlled (Live at the San Bernadino Sports Arena, 6 September 1997). A set of KG's original material mixed at a Dubtribe performance (Los Angeles, 27 February 1999), As well as frequent visits south of the border: Atomic (The Roxy, Guadalajara, Mexico, 28 November 1997), Monolith (Santa Anita, Mexico, 27 March 1998), Oceanic 2 (Acapulco, Mexico, 4 April 1999), Loud Sessions 4 (Monterrey, Mexico,17 April 1999).
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.