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Kanga

 

E.N.T. “First off, tell us how you got into making music. What was the first time you realized you’d like to do this?”

 

Kanga “I couldn't seem to find my niche in life until I enrolled in an electronic music production course, when I was 16. I was kind of a troubled teen and I found it incredibly cathartic. It wasn't until 2008 when I heard Age of Dub by Ed Solo that I realized I wanted to produce experimental underground music. That was my first glimpse into dubstep-- it was so visceral and primitive and became the escape I was looking for. It's a shame what happened to dubstep though… we all know that story…”

 

E.N.T. “So you’ve been working on a lot I hear. What are we going to see from you in 2013?”

 

Kanga “I have my Kult Life EP (which will be released soon), so I can stop stressing about that. Also, one of my songs is in a featured video for dance megalords yakdance.com, which is an amazing project. I am also putting together a brilliant live show with Skumstar and visual genius Jeff Striker (of Cults), and am working on a couple collaborative and solo music videos. So I don't seem to have much time to read lately.”

 

 

E.N.T. “What do you like most about LA and the artists there? Any Favorites?”

 

Kanga “There's so much talent going on right now that I am incredibly excited about. I've had the great privilege of working with two of LA's hottest underground acts. Skumstar, aka Billy Burke, is probably one of the coolest people I've ever met. His sonic integrity far surpasses anything I've heard recently. When we work together, it's like this insane combination of my gangster hits mixed with his earth shattering beats. Also, Wh1ch House?

 aka Wh1ch House is another LA underground artist that's going to do great things this year. Rightfully so, he's tumblr famous like every good hexenhaus producer should be, but this year he's really going to focus on playing shows with me and Billie. We're like the Three's Company of 666 music and I love it. “

 

 

 

E.N.T. “What’s it like working with Mute Chamber Records?”

 

Kanga “MCR is like the evil demon baby spawn that will soon take over the world, resulting from the twisted mind of creator and director Soundgrave, aka Stiles Fifield. This man is seriously one of the craziest and most talented musicians I've ever met. I was lucky enough to be there essentially from the beginning-- cigarette filled late nights full of Skype calls bitching with Stiles about needing more labels that focus on true talent and artist integrity. Well, he did it and 6 months later he's still crazy, but now trying to tame and develop this industry beast. I'm very honored to be able to work with him and the rest of the MCR affiliates.”

 

E.N.T. “What's your plan for the Zombie Apocalypse?”

 

Kanga “Great question. I keep hearing people's plans about this. Everyone's talking about which weapon they'd use or something. All's I know is, that I run fast, and my bathroom is impenetrable. Plus eradicating a majority of the population would make it a lot easier for me to work uninterrupted. Oh, the struggles of being an introvert.”

 

E.N.T. “Do you go for New Year’s resolutions?”

 

Kanga “Not really, I think it's stupid to expect yourself to live up to some promise you made to yourself when you were drunk on New Year’s Eve. A girl said this to me once, "You do you, boo boo." It was probably the most profound thing I have ever heard, so I've been doing that ever since. Just doin me.”

 

 

E.N.T. “Do you think being a female helps or hurts you in this industry?”

 

Kanga “A little of both. I mean, they don't call it Wizard House, do they? There's obviously some appreciation for the powerful side of femininity when you have genres popping up that celebrate imagery of powerful, devious women. There's like this conscious decision that every woman in the industry has to make and that's whether you want to identify as a female artist or an artist who is female. The difference is radical and makes a huge difference in how females are perceived and treated in this scene.”

 

E.N.T. “Have you ever gotten any special treatment that a male producer wouldn’t get?”

 

Kanga “Usually male DJ's don't have to worry about being mistaken for a club ho or a sidepiece at a venue. But I think the main difference is that when you're a girl doing this, your gender seems to be the primary concern. A lot of the reactions I get are surprised that this type of music came from a 5'4 non-threatening looking West Coast girl. Well, what were you expecting? I'm wearing a Bauhaus shirt, for Christ's sake.”

 

E.N.T. “What do you look to for inspiration in your music?”

 

Kanga “I'm really influenced by lofi and hip-hop music. I think of myself as a hybrid artist because I like joining the visceral intensity of lofi bassy music with the determination and angst that is distinctly west side-Compton hip-hop. A lot of popular hip-hop just glorifies the success that came after the fact, but I like the idea of aggrandizing the darkness of the struggle that came before. That's where the lofi aesthetic comes in. Luckily I have a couple good hybrid friends, like writer Julian Caesar that I can develop ideas with.”

 

E.N.T. “There are tons of producers out there, and they’re not all signed with record labels, dropping EP’s or telling me to get in touch with their manager, what have you got that they don't?”

 

Kanga “I think it's more of a mental thing. On the one hand, there's a lot of emphasis on being different; but it doesn't really mean much, unless there's substance to your work. On the other hand, you have a lot of people who are just riding trends. Trap, witch house, etc. will not be relevant forever so those who are riding off of relevancy will fade as well. The importance from these genres really comes from their influence, where people take them, and how they develop them. Its artists that can swing the fine line between having a solid differentiating aesthetic, and still be malleable and developmental. Those are the ones that have the most glorifying careers. That's why artists like Bassnectar, Deadmau5, Underworld, and Nine Inch Nails will always be listened to. They balance that line and have enough swagger to keep us guessing on what's coming next. As for myself, I take that all into consideration, but know that there's a certain amount of luck involved. Luck is just the intersection of preparation and chance, so I'm just trying to line all my ducks up in a row.”

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