Kellan’s latest release is a bouncing-off-the-walls trap-hop single with hard-hitting 808 and brass stabs; an energetic reflection of the frustrated energy that came with lockdowns and restrictions. I got a minute to speak with KFB himself about the track, the ennui and the release itself.
FNE: How did you get started in the scene? You’ve really established yourself as a creator on social media.
KFB: I’ve been drumming since I was 10 years old. And from there, shit, it went from playing anything I could get my hands on. And writing some real emo shit poetry back in middle school—I mean, this was the hay day of Fall Out Boy and My Chemical Romance. Years later, 2 and 2 came together and I started recording music when I was 15. First it was punk rock, then I REALLY turned to hip-hop around 17. Started making beats for my friends, and the rest is history.
I’ve always had a drive and need to make music. I couldn’t go a single day without playing the piano in my house, way before I knew what chords or keys were, I was just fucking around, trying to making something.
For the TikTok and Instagram shit, that’s always been a marketing ploy. Get people to tune in, and funnel to my music. But, if I’m being honest, it’s also because I was so sick and tired of these other accounts posting these bullshit tips and “hacks” to make better music. It’s music, it’s art. there are no “hacks”. There’s just strategy and experimentation, and that’s what I’m trying to convey. I don’t know all the answers. It’s all a toolkit, it’s up to the user to create the music.
FNE: You mentioned that you met Webb Wavy at a podcast. What was it?
KFB: The podcast is no more! I’m awful at networking, so that was a stint I used in Seattle to meet other rappers and producers in the area. It was called “Hoppy on Broadway”, an ode to Seattle’s Sir Mix-A-Lot’s “Posse on Broadway”—we drank local beer and talked hip hop…get it?
Webb was one of the first guests I had on the show. He was such the fucking homie. We started organizing shows together to draw out different crowds and fanbases. It was only a matter a time until we made a track together.
FNE: The song just represents an unbridled energy. Would you talk about where that comes from?
God damn right it’s unbridled energy! You said it best. The situation is simple, and something we all know. The fucking pandemic! I was struggling, like everyone else, and all I could think of was performing and getting LOUD THERAPY. Music loud, booties bumping, bass fucking up your bones. God damn did I miss that. Suffice to say, I wrote this during COVID!
FNE: Elephant in the room – it’s a community reference. Why did that character represent a passionate fall to you?
Absolutely a Community reference! The whole hook started with me just singing “Always on, always on, Annie Adderall”. The words just sounded good to me, I dunno! She’s a babe. And just for the record, the song ain’t about the drugs haha. Just music and energy.
FNE: Well, what’s next for you as an artist?
KFB: 2022 is a year of releases. Every 3-4 weeks I’ll be putting out a new track, with new sounds, and new features. That, and continuing to grow my IG following by posting Ableton/beatmaking tips helping other producers achieve the sound they want. By December, I think there’s a good chance world domination is in the cards. Then maybe space?
FNE: Since it correlates so heavily, what kind of advice would you give yourself a few years ago, maybe situated in the pandemic Kellan, if you could?
KFB: Any artists journey is a long, arduous, winding road that can drive you crazy. But a couple years ago, I really came to terms that’s the path I’ve chosen, and it’s the only path I could choose. As the Mandalorian says “this is the way”.
But if I could talk to my younger self, I’d probably do some Back to the Future 2 type shit, like, give him the contents of the sports almanac so he can gamble, make hella money, and not have to worry about the cost of rent, marketing costs, mastering engineers, and of course, time. But maybe also open a casino? I dunno, Biff had it made.
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