Kyle Hall is quickly rising to the level of the greats he studied under in his hometown Detroit (his mentors include Theo Parrish, Omar-S, Carl Craig, Rick Wilhite and Mike Huckaby), and is fast becoming on par with some of the most defiant, innovative DJs and producers in electronic music. The only thing that separates him is a handful of years - a decade or two in most cases: he’s still under the age of 20.
Born during the era of Detroit’s second wave of techno, Kyle grew up immersed a rich legacy of musicians and artists on both sides of his family. Jazz, soul and gospel came from his mother’s side (who is a professional singer), as well as his Uncle Ray (aka DJ Raybone, a local legend), while his father, on the other hand, owned a nightclub. From the age of 11, Kyle began producing wildly experimental electronic music, using basic software and found equipment to explore his imagination. By the time he was 13, record stores became his second home, spending most of his days at Rick Wilhite’s legendary Vibes store, the main headquarters for most Detroit DJs’ record collections.
By 2009, the name Kyle Hall was beginning to spread throughout various magazine pages and webpages internationally, off the back of his ‘Plastik Ambash’ (released on FXHE in 2007) and the radio mix Omar-S created for fabric (which was comprised solely of Kyle’s productions), as well as the distinctive records that started surfacing on his own imprint, Wild Oats, including ‘Worx of Art,’ ‘The Perfekt Sin’ and ‘The Dirty Thouz’. Kyle has since landed releases on reputable labels across the board - including Warp Records, Hyperdub, Moods & Grooves, Third Ear, and Objectivity - and has been prized by the likes of The New York Times, Spin, Pitchfork, DJ Magazine, Clash and The Fader
Steve Tony Julien, aka FunkinEven, is a London-based music producer whose rich appreciation, and masterful ear, for music has been cultivated throughout his life.
Some might say Steve was genetically predisposed to music, hailing from a bloodline of musical innovators. With several of his cousins and uncles prominent figures in the Sound System Culture scene of the 80s and 90s, music was in Steve's make-up before he was even old enough to realise it.
His career began not as a musician but as a dancer. Inspired by the Hip Hop, early Hardcore and Drum & Bass movements of the 90s, Steve joined a rap crew, an appointment which evolved into him becoming the 'producer' for the group.
In 2009 Steve released KLEER EP on Eglo records, his first official recording to be made available to the public. Featuring a distinctive Electronic take on traditional Boogie, experimental Swing, and Four to the Floor Banging House, KLEER represented an evolution in Electronic music, and the birth of FunkinEven as an independent artist.
With his impressive debut creating the desired impact, KLEER was quickly followed up by a discography bearing FunkinEven's distinctive brand of alternative Electronic, including releases, She's Acid  and Heart Pound . The stand-out tracks, each unlike anything around at the time, cemented FunkinEven's reputation as one to watch. Soon enough collaborative projects including remixes for Ikonika (Hyperdub), Bonobo (Ninja Tune), as well as production for female vocalist Fatima and Roisin Murphy [of Moloko fame] followed. After a stint spent working with other artists, the back-end of 2011 saw Steve return to his eponymous FunkinEven persona. First came the release of his forth single Roland's Jam, so-called due to its super analog sound, produced using Roland sequencing equipment, before Steve unveiled his latest venture, his own imprint; Apron Records.
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