Luca Ballerini Kolsch
Kyle Hall is quickly rising to the level of the greats he studied and which he considers his mentors, such as Theo Parrish, Omar-S, Carl Craig, Rick Wilhite and Mike Huckaby.
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.
It wasn’t long before Kyle was hopping Detroit’s DJ circuit himself – and in less than 4 years, he found himself traveling dancefloors around the globe. These days, he balances a world-spanning tour schedule – dotting from Singapore to Israel to Europe, and throughout North America – bringing his inimitable DJing style to world-class clubs (fabric, Panorama Bar, Space in Ibiza) and internationally renowned festivals (Coachella, Timewarp, Bloc, Outlook, Stop Making Sense, Source Festival). With a sense of intuition that spans far beyond his age, Kyle brings an energy to the decks that harks the generation before him, the real deal: strictly vinyl, and as gritty and raw as it gets.
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.
Most importantly, he continues to expand the sound of Detroit through his own Wild Oats imprint, which acts as a platform for his prolific productions and captures the spirit of the city he represents. As he puts it himself: “I want the label to represent the stuff from Detroit, the feeling that I get when I’m here. A non-corrupted, and not a scene-oriented, feeling of creating music. That feeling of just doing the music that you love without all the frills. Wild Oats is about what works for Kyle Hall, the music that I think is good, filtered through me. It’s my life.”