- Humble Gold

Keyboard Kid, a high level based legend and Lil B’s main-producer, hails from Seattle, Washington. However, Based World is where the Northwest Astronaut resides. Upon the recent success of Lil B over the past year, Keyboard Kid still remains a “best kept secret,” sort of, unless of course you follow his Twitter and tumblr. It’s bizarre that one of the most prolific musicians is also one of the most socially active. So it’s no surprise that we were able to Skype and have a little Q&A about influences, sampling, up-coming projects, and other based things.

HG: You’re Lil B’s main-producer, how did you guys meet?

KK: Through the Internet, early 2007; Myspace. I came across his based freestyles and I was already making beats, at the time. I liked his style, so I messaged him saying that we could make classics together. But he had random and fake emails as a filter. One day he messaged me back telling me about the based movement, how no money’s involved, and how everything’s from the ground up. He then gave me his real email and from there we developed a partnership. First of all, [Lil B] is a hell of a smart marketer. Anyhow, we eventually met up in Seattle. He and the rest of the Pack and I went on a trip to WSU In Pullman,Wa . He actually premiered Rain in England, personally to me, there, as well.

HG: Wow. That is very rare. So when did you first start making music; care to cite any influences?

KK: I’ve been into music my whole life. I have young parents, so early hip hop; mostly west coast. I would write poetry but I really wanted a drum set. However, because of living in a small apartment, I couldn’t, so I opted to play the trumpet instead. I started playing that in the 4th grade; at 10 years old. Then I broke my hand during a little league football game which caused me to stop music until I got a keyboard. I never recorded till I was 15 or 16. A friend of mine, who is a big computer geek, showed me the Internet. I got really into it, mostly downloading instrumentals. The Neptunes, Kanye West and Timbaland are all favorites. When it comes to hip hop, I love the beats but never really liked gangster lyrics. I’m not a gangster. I like rappers like Mos Def. Anyhow, I was more curious about who produced what, so I always read the liner-notes of albums I had. But to go back a bit, though, Kanye West’s “Through the Wire” instrumental was what really did it. I wasn’t even familiar with the actual song, but the beat, that sample, just affirmed that I needed to make beats. So a year went by and I started learning about loops and breaks. I came across a FruityLoop program that was really techno-sounding. As a do-it-yourself person, I played around and sample-recorded before I ever figured out how to upload. “So Anxious” by Genuwine and “If This World Was Mine” by Marvin Gaye were the first two songs I ever sampled. But until I met Lil B, I didn’t realize how to structure a beat. My style is unorthodox and I’m currently using FL Studio 10, now.

HG: How did Lil B help your progression as an artist?

KK: The more I got around Lil B and involved in the Based movement, the more tired I got of hip hop. I was bored of hip hop. Me and Lil B always talk about what we think is next in the music world, we both agreed it was kind of going to be an ambient sound. So I started getting into more ambient music. I just knew I had to sample something.

HG: Right. You’re already one of the most prolific producers in the game right now, how often are you working; composing music?

KK: All the time. Life is music; I’m a starving artist. I make beats out of music I like; it releases stress. It’s a passionate channel through emotions. Within an hour, I can make five beats, and then make none. It comes periodically. I aim for three beats per day. I’m unorthodox about it, though. I’m literally experimenting and tweaking samples for hours. I really love it!

HG: You use a MPC?

KK: Naw. No MPC, just a MIDI board and FL Studio. I had a MPK but got rid of it. I may get it back. I don’t really use external hardware, although I may get that new AKAI MPC that’s out, but I got my name Keyboard Kid from playing keys in FL Studio. My bro was like, “You’re fucking Keyboard Kid.” It just stuck, from then on.

HG: Cool. I notice that you’re working with other rappers besides Lil B, such as Green Ova Undergrounds. How’s that?

KK: Forever green, homey. [Laughs] Big ups to Squadda B and the whole G.O. fam. We met online, through Lil B, and got in from that. When I first met them, they were super lo-fi. They’ve come a long way in a short-span. We got a good working partnership going now. I’m rooting for them.

HG: I’m rooting for them, too. So I think I heard you rapping before somewhere, is it something you’re taking serious?

KK: It’s something I do and my friends encourage me. We have plenty cipher blunt sessions. My boy, Nate, and I freestyle and battle a lot, when together. When I make a beat, I hear a song in mind, from concepts to verses. I really want to make a compilation with A$AP, Green Ova and Lil B. Talking to ASAP Yams about it.

HG: I asked .L.W.H. a similar question, currently it seems like your music only exists in the context of the internet. Being from Seattle, what are you trying to accomplish? Is it hard for hip hop to be taken serious there? I know Blue Scholars and especially Macklemore broke-out on a physical level, however, why is the Northwest so overlooked, for hip hop?

KK: I do want to reach as many people as possible. The Internet makes it easier to do. But as far as my beats go, around here, it is “too different,” as in “I don’t know how to rap over that. I want a beat like Wiz.” So I’m like, “fuck that, I’m a put it up online myself.” I’m currently in the process of getting a full-team assembled, from management to public relations. I really want to add a live show element and just become more present in Seattle and the world, in general, for 2012.

Big ups to Blue Scholars, and Macklemore by the way!

It’s really weird and kind of baffling here. People are too close knit and not working together. In California, it seems more as a group like there is a definitive scene. Seattle is more individual. A lot of people are catching onto the based movement, though. Based has given me a platform to talk and interact. However, I have been talking to Nacho Picasso, Cloud Nice, and the Homie Thaddeus from SOTA who have all gotten looks from like FADER Magazine; we’re starting to collaborate here, in Seattle.

HG: Care to talk more based and about working with Lil B?

KK: People who are based are forward-thinkers. Based World implies a certain way of thinking. Before Lil B and I ever recorded, we talked about life for hours. When I play him a beat, I’ll sometimes ask, “What color do you see when you hear?” Lil B will reply, “Blue.” And it’ll be the same hues of color I am seeing. Lil B is really honest and is at the purest level.

Based World is a place without the media. I don’t keep tabs but I do keep up. My music is built from emotion. I want it to catch you, have you exist with the music. What you’re feeling, what you’re hearing. It’s something subconscious but I get lost in a trance. I make music for the right intentions, because that’s who I am. That’s what I want.

Its crazy where we’re at, though, still thinking 10 years ahead. We’re going to get a real legacy going.

HG: That was so enlightening; I hope you reach that level of legacy. So before we wrap this up, anything you want to plug?

KK: Yes, actually. I have a show scheduled in Portland soon. I got the Donky Pitch EP with [them] they from London. I have a MISHKA multi-media project, Trapped in Based World, in progress; shooting trailer for it at end of month. I have another instrumental tape coming soon, Don’t Leave Based World, and a project with Neema. The track with Glasses Malone and Mista F.A.B. leaked on YouTube, a little bit ago. Also, Katie Kate’s EP, who recently received attention from Rolling Stone and Stranger in Seattle, planned. I and Zomby from London have talked about doing a collaborative EP as well. I have a lot going on right now. I will be in the lab with Lil B in two weeks. I’m just going with the flow and making sounds to fit certain moods.

check out Keyboard Kid’s music here and here