Studio Sessions | Pyrex talks lessons from Metro Boomin', working on Offset's album, J. Cole and more
The 22-year-old East Baltimore native is the maestro behind Offset’s “Quarter Milli” collaboration with Gucci Mane and more.
For “Studios Sessions,” we delve into the stories behind the long hours in the studio and all that goes into making an album by talking with artists, producers, engineers, photographers, and more who are intimately connected to the recording process with some of the biggest artists in the world. These are the stories that rarely leave the booth.
Pyrex has torn clubs up without stepping foot in them. The 22-year-old East Baltimore native is the maestro behind Offset’s “Quarter Milli” collaboration with Gucci Mane, DaBaby’s “Pony,” Lil Gotit’s “Cook Up,” Lil Keed’s “Drown,” and a litany of others. But, you’ll hear Pyrex in the club before you ever see him there.
“I’m definitely playing Russian Roulette when it comes to the beats because I don’t like going out to the club or being seen. So, when people see me, they’re like, ‘Oh, that’s you making those beats?’”
In this edition of Studio Sessions, mega-producer Southside’s protege explains how his chemistry with Lil Keed helps make club bangers in minutes, what he’s learned from Metro Boomin’, and if the world should expect a J. Cole and Young Nudy collaboration.
How’d you link up with Southside?
I linked up with Southside because I was making beats with Metro [in 2018] and Southside clicked with me. He said he saw so much of him in me. I think he meant how I kind of act like him, I guess. We come from the same environment, so we react the same way. I’m also quick with I’m making beats like he is.
What’s the quickest beat you’ve ever made?
‘Pony’ for DaBaby. I made that in five minutes. When I get in the zone, I just start going.
Who do you have the best chemistry with in the studio?
My best chemistry comes with Lil Keed. We just connect. He’s always looking to try different things. He went out of the box on the intro to his next album, it hasn’t come out yet. You gotta hear it. It’s crazy because it’s an unorthodox beat. I didn’t expect him to take the beat. It was one of those, ‘Let me try this.’
I made the beat for ‘Drown’ in 10 minutes and he recorded his verse in 15 minutes. The song was done in less than an hour. That’s a product of my chemistry with Keed. When you get chemistry with an artist, y’all just start flowing. Keed’s my boy. It’s to the point where when I make beats, I know which ones he’ll want.
You also linked up with Young Nudy soon after he was released from jail in February. What was his mindset and mood in the studio?
He was calm. He was focused. I don’t want to speak too much on his situation. He was definitely focused and not letting things get to him.
Did y’all record anything and did he speak on his situation in those songs?
Yeah, he recorded that night. I can’t speak on what he rapped about. You’ll just have to wait and see when the music comes out.
Young Nudy’s DJ, DJ BJ, posted a video of Nudy and J. Cole in the studio writing to a beat during those Dreamville sessions, and you’re tagged in the video. Are you part of a Nudy/Cole collab?
(Laughs) I guess you’ll have to wait and see whenever they drop the song, and see who produced it.
I see you not giving that one up. Hypothetically, if the beat was yours, it was hard.
Thank you. That means a lot.
You also produced ‘Quarter Milli’ from Offset’s album. How did that come about and when did you know you’d be on his album?
Metro told me to send some beats for Offset and that was one of the first beats I sent. I didn’t know it was going to be on the album until the album came out.
How has working with Metro helped your production and work in the studio?
He’s helped me learn about using different sounds in my music like live musicians. It’s not like I’m making a classical beat, but using live musicians to make a beat… I’ve seen Metro work with live musicians.
You told me you don’t go out to clubs, but you make these songs that tear the clubs up. How do you do that without getting a vibe of what people like in them?
Honestly, I’m out here playing Russian Roulette (laughs). I’m trying different things. That’s the biggest thing. I’m always trying different things. If a beat hits, I’m going to keep tweaking the next one until it sounds like the last beat. I’m definitely playing Russian Roulette when it comes to the beats because I don’t like going out to the club or being seen. So, when people see me, they’re like, ‘Oh, that’s you making those beats?’”
You were in the studio recently with Sheck Wes. He was involved in negative press recently involving his ex Justine Skye. Does that ever affect your decision to work with certain artists?
I don’t know what you’re talking about.
I mean, do you shy away from working with artists who may have negative press around them?
What that got to do with me? As long as it doesn’t have anything to do with me, let’s just keep it moving. I can’t really judge somebody off what they’re doing as long as they don’t do anything to me.
What should fans be looking out for in 2019?
I’m trying my best to be on as many projects as possible. The best thing to look forward to is me and Keed.
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