14KT INTERVIEW

“It’s crazy how beat makers are more important than rappers and DJs to a certain degree now. Hip Hop changed a lot since I was a kid,” says Kendall Tucker — producer name, 14KT. Of late, beatmakers have been peaking in the music and Hip Hop cycle. As KT promotes his latest album, Nickel & Dimed, he explains the juxtaposition of being an underground producer is both “discouraging, yet very challenging”. We discuss his experiences in the music industry, so far, and his life as an independent artist. Over which he comments: “Opportunities are very sporadic and the lifestyle can drain you”. One-seventh of the Hip Hop group, Athletic Mic League, which includes Buff1; the crew set out as close boys from Ann Arbour, Michigan. And the idea of entering the music industry was only an after-thought, since the friends hung out together playing basketball; it wasn’t discovered until later on that each of them had been writing raps on the low. Shortly thereafter, The Athletic Mic League was born. Though the life of an underground artist can be hard and KT says sometimes he still thinks about quitting; ever since dropping his debut release, ‘The Golden Hour’ in 2008, the music industry, together with its’ highs and lows, have kept the man aiming for world tours and at least 20 albums released before he throws the towel in. It is these ‘clean’ highs he loves and keeps coming back for, considering any other high for him is off limits, being a devout Christian. Though music must be fit into a schedule packed with family, friends, lovers and children for all who love it or keep it as a career, KT says: “It’s just like sports. The nature of sports is to have fun, but when you are practicing for hours everyday to get better, that’s when it’s not a sport anymore. It’s your life.”

From the release of the underground classic ‘The Golden Hour’ to your Dilla tribute ‘Nowalaterz’ to the ‘Killa Tape’ then ‘Friendly Game’ and now ‘Nickel and Dimed’ there are stark differences style-wise. Is that intentional from you as the creator? When you produce an album what are you predominantly setting out to achieve?
Personally, I feel there’s more of a stark difference in the emotions of each project more than the sound of each one. “The Golden Hour” is by far my most personal project, so it has an intimate personal feel to it. “Nowalataz” has a Dilla “Donuts”-esque style. “14KillaTape” has a kind of dark and beat-battle type energy that the other albums I’ve released don’t have. Then “AFGOKT” is more of a playful type record. With “Nickel & Dimed”, musically the only goal that I had was to make and choose a set of tracks that all sound unique from each other and have different vibes. I treat each project differently though.

What experiences or things were influencing you at the time you were assembling N&D?
Many emails and messages I would always receive from various rappers and singers, who pretty much tell me what they are going to do with MY music without my consent. And also they all never have money, but then rap over my joints about how much money they are getting. Or telling me they don’t have a budget and can’t pay for using my music, but then post up a picture on their Twitter of the newest pair Jordans they just bought days later.
The list goes on and on. I’ve been experiencing things like this for the last five-six years. My main influence for titling the album “Nickel & Dimed” was inspired from reading the book of Ecclesiastes in the bible.

How did your connection with Mello Music Group come about?
December of 2011, I released “A Friendly Game of KT” myself just digitally. About a week later, Mello Music Group contacted me and asked me if I was planning to press physical copies of that album soon. I told them I hadn’t planned to, and MMG offered to. Later “AFGOKT” was released in March of 2012. Thank you MMG.

How would you describe being an ‘underground’ artist in today’s Hip Hop/Beat-production climate?
Discouraging, yet very challenging. It’s inspiring because there are a lot of hungry, talented, young beatmakers out here, but that can also be the problem- there are a lot of beatmakers out here.
It’s getting kind of saturated to me. It’s crazy how beat makers are more important than rappers and DJs to a certain degree now. Hip Hop changed a lot since I was a kid.

In your opinion, how important is good sound engineering when it comes to beat production?
I’m a true believer in the knowledge of sound engineering. I feel like it is very important to understand the mechanics of frequencies, mixing, equalizing, types of equipment, and understanding the relationships of different instruments. Plus, sound engineering helps an artist hone in on their own unique sound as well.

And what is your main goal, when you’re mixing, in terms of achieving what you would consider to be the perfect sound?
I would say that my main goal in mixing is to do my best to capture the emotion that I need the track or project to convey. If I’m creating baby-making music, I want to mix it in a way that when you hear it, you know what time it is. That’s what makes tracks perfect to me — the marriage of emotion and sound.

I noticed that the kick drum pattern on the track “West Coast Errol Flynnin” is eerily similar of the pattern to a previous beat you’ve made (Needing to Win (0-16) from the album Nowalaterz). The drums in both those tracks have so much swing to them, they’re almost perfect in their imperfection. How big a role does quantization and swing play when you’re crafting the drums for your tracks?
Kudos for noticing that because I surely didn’t. Quantization doesn’t exist in my world. I know what swing is, but I don’t consciously think about “swing” when I make drums. I usually just nod my head to it and play attention to how the drums make my head move. I like my drums to sound as natural as I can. Even if they are sloppy, they have harmony to them. That’s when I know it’s right.

How would you describe your journey in the music industry so far?
The ultimate learning experience. I think that I’ve experienced every emotion you can have. I’ve cried over music. Gained my confidence through the mistakes, misfortunes, and joys. I’ve been in the industry pretty much since 1999, so if I’m still here and able to create and be somewhat relevant, I’m doing good so far.

Do you have a bucket list of things you’d like to accomplish with your music? If so, what do you have you left to do?
The artist Ramsey Lewis is my inspiration! He’s recorded like over 80 something albums. Im shooting to have AT LEAST 20 albums released before I’m done. And I want to tour the world at least twice too. Book me everybody!

Do you still think about quitting music?
Everyday. In my mind, I might only have two more years left in me. This feeling could change tomorrow though.

Do you experience much clash between your Christian faith and the music industry?
You know, I actually haven’t experience much of a clash. Personally, I’ve had talks with God about personal issues, but nothing really big. Nor have I had problems with other artists due to my faith. Yet. I think it’s more due to the fact that I’m still a very “underground” artist. I think that if I was selling millions of records and had more influence, while making the same music I do now, there would probably be more of a clash.

Is it easy or more a task to balance the two worlds?
As of lately, I’ve been finding it hard to balance both worlds. Both require me to invest in a certain level of commitment to grow. It’s hard to go hard with music 100% and go hard in my faith 100%. Being an independent artists, opportunities are very sporadic and the lifestyle can drain you.There’s no structure to that lifestyle sometimes. So, it becomes hard to manage your time, availability and energy for both worlds.

Have there been instances where you have turned opportunities down because of your faith?
There actually isn’t any that come to my mind. I think it might be because I am very open with my faith, so when I put it out there, God’s presence protects me from dealing with certain types of people or situations. I’m sure I’ll be tested along my career more. I feel it.

How do you hope N&D will be received by listeners and fans?
I really hope fans enjoy another album full of KT beats and tracks that I want to share with them. I also hope listeners give some thought about the title and concept of “Nickel & Dimed”, and start discussions on ways to grow out of the “Nickel & Dimed” mind-state.

In the intro for your 2011 ’14KillaTape’ there’s a sample on ‘Adrenaline’ implying that you always knew you were different and you just take the games you play too far, I was wondering if you still feel you’re playing a ‘game’ (so to speak) as you progress in your career.
Naw, I haven’t been playing a “game” since I was a teen. Making music started off just being fun like a game. However the more you become invested in the craft, things start to get serious. It’s just like sports. The nature of sports is to have fun, but when you are practicing for hours everyday to get better, that’s when it’s not a sport anymore. It’s your life.

What is your ideal situation when it come to a good life/music balance?
Allowing yourself the freedom to create and not always working on a deadline. Time management. Finding time to allot for music and time to spend with family, friends, God, relaxing, and learning.

Who are some of your all time musical inspirations musically?
Stevie Wonder. Quincy Jones. DJ Premier. J Dilla. Michigan Music. Athletic Mic League. My mom.

What’s your favorite quote?
Currently: “Study to shew thyself approved” – 2 Timothy 2:15

What’s your definition of Grindin’?
Grindin’ is when you stretch yourself further than how you feel. When you feel you have no more energy, but you continue to work hard anyways.

Interview by Aleyna Martinez