Life of a [Fuchsian] Don: K.Wood$ Breaks Down the Making of Catacombs Project [EXCLUSIVE]

      It seems like yesterday that the multi-talented, effortlessly witty, and cogent creative K.Wood$ dropped his Catacombs project in March 2019. An entire season has passed with him releasing new music, knocking out a plethora of features, teasing new project concepts, and recanting adventures as a substitute teacher in Baltimore City school systems with his acts of transformative mentorship. As K.Wood$ morphs into his new, Velora-colored aura and next musical chapter, it would serve the masses well to know the making of this mosaic of a musician.

I.) Origins: 

      K.Wood$ is a Baltimore native, born and raised with his two brothers. He claims both Hilton Ave and Edmondson Street. K.Wood$’ canon of his versatility can be found in his direct family lineage, with his mother being a principal that thrives in providing rehabilitation for juveniles and dealing with gang problems in Baltimore’s public school and his father, who is a Jazz musician.

II.) Making of the Magic: 

      As written in my article on TheDemoTape, Catacombs was a project teaching the importance of mental health and navigating it through the throngs of love and finding one’s purpose.

MV: You spoke about early reviews as a part of your creation process, correct?
KW: Mixed reviews make me excited, because that’s constructive criticism in a way. 

      K.Wood$ describes how the track “Don’t Leave Me” was the first beat for the project that he received from a colleague in London. Marcus Parker worked on a good portion of beats for the project. Casino Kam provided “Lost Me” and VNC3 Productions
 produced “Farewell” and “Welcome,” the former of which K.Wood$ would rap on immediately upon receiving it. The process of making the project would take 6-7 months to create, with characters tied to the songs.

      “All bets are still off,” K.Wood$ described to me when speaking of the trajectory of his persona. “At the end of the book [my old self] dies and I [my new self] want[s] to live.” K.Wood$ credits Zack Byrd with helping with the final tracklist. In addition to talking about the mixing and mastering process, K.Wood$ gets into the aim of the project. He hilariously would reference the two houses meme that portrays the dark parts of a song (the lyrics) as juxtaposed to the vivid parts of the song (the production and melodies).

MV: How would you describe Catacombs in one final word?
KW: It’s a graveyard in my mind in a kind of way…but it was where I grew at. I want people to see me as a happy guy…but with a tinge of sadness.

III.) Trajectory of the Don: 

      Too Much to Think About was the journey of the first persona, KiddArtha. Grandma’s Death was Oscvr Wow’s journey, with Catacombs by K.Wood$ being the last installment of the Baltimore artist’s compelling trilogy.

      Like an ominously wondrous preview, K.Wood$ would end the interview by giving me the story of the new alias he goes by now that also happens to be the subject of his next project. In a dream, he met a woman radiating in the color of Velora. Stay tuned for the evolution of this great artist and follow him on his social media handles.

You can follow K.Wood$ on Twitter @Kdotwoods_ and Instagram @kdotwoods, with Catacombs streaming today on multiple platforms.

> Maurice Valentino
Speed on the Beat

Whatever you need to know about me, you can find out on

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