With his third release on Yoruba Records, Kevin Reynolds follows up his ‘Come On Then’ EP which featured a few singles from the upcoming album “Come On Then” alongside some heavy hitter remixes. This time, we foster in ‘Riverfront’ a chunky stabs-filled banger. To accompany this one, the label brought in one of the other Detroit masters, Jon Dixon! Taking it to the next level and a beautiful journey we hope this one touches hearts. With the album to follow, we expect a long line of releases from Mr. Reynolds to come.

Read the full interview below while listening to the full premiere of Jon Dixon’s remix exclusively on our sister channel Dancefloor Romancer. Enjoy!

WWD: Hey Kevin. Thank for taking the time to talk
My pleasure. I appreciate you taking time and interest.

WWD: Are you born and bred in Detroit?

I was born in Detroit (at Sinai), grew up over by Hamtramck which is small city in Detroit that was mainly Yemeni, Bengali, Polish and Eastern European. Lived a bit on the northwest side for a few years. Went high school in East Lansing as my Mom attended Medical School at Michigan State. Ended up in college in Arizona and then came back to Detroit in 1999. Now I live in north Corktown (named after County Cork in Ireland) a mile from Downtown.

WWD: What was it like growing up in Detroit as a kid? Were you aware of the city’s rich musical ability then? Were your folks into music, and what did they play?

How much time you got? I mean growing up in Detroit music was just a part of EVERYTHING. Home, School, Car. My folks fed me Stevie’s Songs in the Key of Life as a baby creating a foundation. All of my parents were into music. I just remember looking at Earth Wind and Fire records when I was kid thinking they were the greatest thing on earth. My Dad got further in his music research going to roots of blues and gospel. My Stepdad was a working performing musician who played with likes of Michael Henderson, Anita Baker, P-funk… He played piano and sang. The radio in Detroit had a huge influence on me. The Electrifyin’ Mojo, The Wizard, Billy T, Alan Almond, Mason…

The thing is in Detroit, either you or someone you are close to does music in some form. It’s pretty mind-blowing, I can’t say I’ve been anywhere that there is 1 degree of separation for musician of all genres in this city.

WWD: What do you think it is about the City of Detroit that has made it such a beacon of light in musical innovation? Why are the artists that come out of the city so seminal?

I think it kind of goes with what I said before that, music just permeates everything here. We talk about why it continues to provide the world with great sound. I think it has a little bit of competition and the fact that you know the others are watching and taking notes. I think it’s very healthy to strive to constantly perfect your skills. It’s a battle. A battle against wack music. It wouldn’t be odd for someone to come up to you and tell you they didn’t like a part of your set. I love that… it pushes you to work harder. Unfortunately, lately there seems to be less of that but I feel like it’s ingrained in Detroiters to push as hard as they can to make the best they can.

WWD: When did you first start tinkering around with machines?

I remember asking my Dad to get me a Capsela. It was a construction toy with gears and motors you could put together. We were pretty broke back then and I knew it was a huge ask and I sure he had to rob Peter to pay Paul to get it for me. It triggered something in me. Shortly after I took apart and put back together my Grandmother’s radio cabinet. Then I started making pause tapes off the radio. I helped start a music technology class in my high school simply cause I couldn’t afford any gear.

WWD: What record back in time make you stop in your tracks? Were you a big Kraftwerk fan?

Ha! Yes, Kraftwerk is still probably my favorite of all time. Too many songs till this day make stop in my tracks. Trans-Europe Express still gets me every time. That and hearing Al Naafiysh, Nucleus, Cybotron, Soulsonic, Houdini, Run-DMC, Beasties, Eric B & Rakim, Kool Moe Dee. All those sounded so fresh.

WWD: What was the first production you ever made?

Well, I made some really horrible ones in that music technology class on cubase, proteus and Korg 01/W. My brother said it sounded like New York Undercover and Hill Street Blues but not in a good way. My first sampler was Ensoniq EPS16+ with a whopping 1mb of sampling. I experimented for a long time with that machine. I was learning a lot about Buddhism and was fascinated how the Tibetan Buddhist spend all this time making a beautiful sand mandala only to sweep it away to impermanence. I applied that to making music. I would compose a piece and then when I felt it was done I would just turn off the machine and not save anything. I did that for many, many years. My first record came out in 2006 “Afrik” on my label Todhchai.

WWD: How did you hook up with Derrick May at Transmat? What did you do in your time there?

I went to college for audio engineering in Arizona and part of the graduation was to fill a 6 month internship in a studio. After some convincing the college (they had no idea what techno was and why in the world would I go back to Detroit) I landed an internship at Transmat. I came there to learn from originators. I learned a lot, it was almost a proving grounds, much like a sport. Very grateful to what I learned from Derrick and the amazing folks I worked with Neil Ollivierra, Kent Spencer, Derrick Ortencio, Derrick Quinn, Laura Gavoor to name a few. While my talents were based in audio I learned and managed many aspects from advancing releases, tour management, distribution, licensing, pressing records… you name it, I’ve done it.

WWD: What has your involvement been in Movement over the years?

Movement holds a very special place in my heart. I’ve staged managed roughly 12 years of it. Just did the most recent one which was amazing. Going back I helped with a compilation of music based off the festival. I played live in ’01 ’04 ’09 ’15 I think…

WWD: Where have you been hiding this last decade?

In plain sight. I helped my best friend open a restaurant that turned into 4, during a pandemic. I’ve just been honing my craft and now I feel it is the right time to share.

WWD: Talk us through the Riverfront release a little?

It’s based off the Detroit River initially. The river borders Detroit and Canada. I’ve crossed that river many times. Usually very comfortably and without much effort. Then I began to think about all the people that don’t have that ease of crossing a border. The fact that people are willing to risk their life for a better one by crossing a border. How something so beautiful as a river can mean life or death to person. I was fronting on the river that day. So I called the song Riverfront.

WWD: Do you and Osunlade go back a long way?

Pretty sure I met him a few lives back, lol. He reached out to me after I put out Afrik and we’ve been brothers since. He has been a just an amazing guide for the music yeah, but life as well. I can’t be grateful enough.

WWD: Who do you think is making great music now? What other artists from Detroit should we keep our eyes on?

Oh. there is something always. I’ll just throw some names but Meftah, Jorad Silver, MGUN, 100 Limousines label, Erika, Beatnok, Waajeed, BMG, Amani Olu, Patrick Russell, Deon Jamar, otojojo, LadyMonix, Kyle Hall, Jay Daniel…

WWD: I hear there’s an album in the pipeline, what can you tell us?

I can tell you this, Osunlade and I have been working a lot to get this out in the world. I’m very excited to see how it grows as it comes out.