As a percussionist Kevin focuses on extended techniques which emphasize textural sound, friction, sympathetic vibration, sustained tones and the use of found objects. His approach favors arranging events in duration over marking time by rhythm. Whether working in sparse sound with a single drum and cymbal or frenetic contexts on the drum kit, improvisation is crucial to his practice as generative method and non-hierarchical exchange of ideas.

In field recording practice he listens and interacts with sites and objects. Specific interests in land use guide his recordings in relation with abandoned architecture, urban excess, toxicity, decay, and intersections of infrastructure and open space.

Additionally, electronic sound is present in his work through use of feedback systems, computer software, and various means of amplification.

Based in San Francisco, Kevin collaborates across disciplines and borders performing in the United States, Mexico, Europe, and East Asia with musicians, dancers, filmmakers, writers and visual artists. In addition to making live and recorded sound and music, he works with installations, writing, photo, and video.

Beyond his own work he is co-organizer of the concert series Re:Sound which takes place in a disused munitions magazine on Mare Island in Vallejo, and operates under 23Five, a long running Bay Area organization dedicated to the increased awareness of sound in the arts.