Knxwledge is an artist that you’re likely to either get into with cult-like loyalty, or leave completely alone. Not stingy or particularly careful with what he releases, a scan through the New Jersey native’s Bandcamp page gives his listeners the choice of 66 projects to listen to, and yet when he placed one of his instrumentals on Kendrick Lamar’s To Pimp A Butterfly many media outlets reported him to be a newcomer. Three official albums deep, plus the aforementioned catalogue of beat-tapes and remixes, we find the producer at his Los Angeles home getting his morning juices flowing.
As blunted in speech as his music suggests, he takes long pauses in between his words, often to inhale that cali weed before coming back with a ‘dude’ filled sentence. “It’s good to finally have another piece of vinyl work out there, I guess it’s kind of what I strive towards – having stuff on vinyl,” he considers. “That’ll last the longest and means the most to me, definitely moreso over the digital stuff. Definitely glad to have, especially a label like Stones Throw behind me – I can’t even describe how crazy that is to me.”
Born Glen Boothe, Knxwledge spent his youth being swept off to church on a daily basis, where he’d spend most of his time. The time that was left over would be assigned to school or sports, so it was up to his older cousins to introduce him to music outside of what he’d pick up from his tape recordings of the radio, which he’d leave rolling through the day whilst stuck in sermons. Through them he’d end up with the likes of Kareem Riggins and Jaylib in his headphones, or as he puts it “all of that f*cking amazing shit that I couldn’t obtain without having a computer.” Stones Throw has been a dream signing and his new instrumental album Hud Dreems fits perfectly amongst the labels lofty legacy.