Harry Fraud is known for crafting some of the waviest instrumentals in rap today. From Mac Miller, to Curren$y to longtime collaborator French Montana; Fraud has been the architect behind some of the more genre-bending songs released in the past few years.
The once mysterious producer opens up to Nah Right for their "In The Lab" series, providing some insightful commentary about his production style, and his collaborations with French Montana, Mac Miller & more.
On his sampling, or lack thereof:
it’s not a point like, ‘Yo, we’re not sampling anymore!’ One day I might wake up and only loop up vinyls. And the next day I might wake up and write my own music to sample from with the band I work with. Like ‘Bales’ and ’100 Spokes’ with Curren$y and Young Roddy, those aren’t samples. It’s the band playing shit that we sampled up. ‘Legends in the Making’ with Smoke DZA, Curren$y, and Wiz Khalifa, there’s no samples on that either. I’m just in that space where I’m gonna do whatever I feel, because that’s where I think I’ve been having the most success.”
Working with French Montana:
French doesn’t write in the traditional sense. When you work with him, it’s all about a feeling. The other day, I played a beat, and the main part of the beat wasn’t what he keyed in on. He keyed in on some four bar bridge, and was like, ‘Yo Fraudy, let’s take that, and maybe exploit that and turn it into more of the beat.’ And we’re at that level of comfort where we can just sit and work [and talk openly with each other].
Working with different rappers:
The most important thing is, it’s not about me. It’s about them. So, how am I adapting to them, and making them feel comfortable? You don’t want to ever force an artist into something. I’ve been in rooms where a producer is straight selling an artist on a song, and you can tell deep inside [they’re not feeling it], but they’ll go with it because they like the producer. Sometimes it comes out hot, but sometimes it comes out super-trash.
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