Exclusive Interview
Dec 13, 2024
Produced by: Rudy Manager
Edited by: Rudy Manager & Andrej Aroch
SHDØW – “You can hear my signature style in Vultures 1 and 2”
In this exclusive interview with Studio Talks, we sit down with SHDØW, a music producer from Poland who has made waves in the industry with his work on Kanye West and Ty Dolla $ign's Vultures 1 and 2, collaborating alongside the legendary producer Timbaland. SHDØW takes us through his journey, from his early beginnings in music to becoming a key figure in the production process of some of the most talked-about projects in the music world today. In this candid conversation, he shares insights into his creative process, the challenges he faced, and the invaluable lessons he's learned while collaborating with some of the biggest names in the industry. The interview was conducted by Rudy Manager via video call on November 27th, 2024.
I’d like to start by asking how you first became interested in music and how that eventually led to music production.
There was always a time in my life when I felt drawn to music, especially in the background. For instance, during my early gaming years—when I was around six or seven—I found myself fascinated by the soundtracks in games like Need for Speed and Grand Theft Auto. The hip-hop and nu-metal tracks really inspired me. They made me want to hear more and dive deeper into music.
Over the years, I started exploring where I might fit within the music world. At first, I knew I loved listening to music, but I wasn’t sure what to do with that passion. I even tried dancing—breakdancing and hip-hop styles—but it didn’t feel like the right fit. While I enjoyed the music that came with dancing, I realized I connected to some songs far more deeply than others.
When I was in middle school, there came a point where I had to start thinking about my future. My dad asked me what I wanted to do after school, and out of nowhere, I said, “I want to be a music producer.” My parents were surprised. They were like, “Really? Why? You haven’t done anything related to music so far.” But I just knew. At the time, I was inspired by producers like Dr. Dre, DJ Mustard, and Timbaland. I loved the idea of being able to create songs I genuinely liked, put them together on an album, and enjoy them as much as my favorite tracks from other artists.
That’s how it all started. I told myself I wanted to be a producer, and from there, I began taking steps toward making it happen.
Did you have any mentors, or did you attend an institution? How did you improve when you first started making beats and decided to become a producer?
My early years as a producer were really tough because I had no idea where to begin. I didn’t know what tools to use, what kind of sounds to focus on, or even what genre I should pursue—whether it was West Coast rap, general rap, or something else. It took me a few years to figure things out and find my direction.
At first, when people asked me what I did, I’d say, “I’m a music producer,” and they’d ask, “What do you produce?” I’d reply, “Mostly hip-hop,” because that’s what I was drawn to at the time. Just before college, some friends introduced me to club and electronic music, which completely shifted my perspective. I realized I didn’t have to limit myself to just being a hip-hop producer. I could experiment and combine genres, like producers such as Skrillex or Diplo.
In 2016, after about a year of making beats, I started transitioning into electronic music. For about two and a half years, I was fully immersed in that space, particularly in the wave genre. In early 2019, I released an instrumental Recovery album and uploaded songs to independent YouTube channels. To this day, people leave comments like, “This is amazing! Can I use it for my drifting video edits?” One of my instrumentals even reached a million views on YouTube, which was a huge milestone for me.
That experience taught me an important lesson: there are no limits to your craft. You can be anything you want as long as it feels authentic to you. At that time, making instrumental music felt right for me, but now I’ve moved on from that. These days, I’m more focused on creating a unique sound that works across genres like pop and hip-hop. For example, you can hear my signature style in Vultures 1 and 2.
Looking back, I’m grateful for the path I took. At first, I felt frustrated watching my friends land placements on hip-hop projects while I had nothing but a million YouTube views for my instrumental work. I wanted those placements too. But now I see the value in my journey. It helped me refine my craft and develop my own sound.
So would you say that your instrumental album was the first major project you worked on, or was there something even earlier?
That album was definitely a milestone in my career. It was the first big project where I had to handle everything—from designing the artwork and creating the concept to organizing the tracklist, mixing the tracks, and promoting it. It was a lot of work but also a crucial step for me.
After releasing the album, I started gaining more recognition in the Polish music industry. People began inviting me to sessions because they had seen my songs and instrumentals on YouTube or Spotify. A lot of them were surprised when they realized I was Polish. They’d say, “I never thought you were Polish!” and I’d ask, “Why?” They’d mention my use of an “Ø” in my name, thinking it looked Swedish or Norwegian.
That recognition after the instrumental album helped me transition naturally into becoming a mainstream producer in Poland.
You’ve already touched on this a little, but do you have any other favorite productions that hold a special place in your heart?
One that stands out is “FUK SUMN.” There’s a crazy story behind it. I worked on it overnight because the team was in Miami, and with the time difference, they were six hours behind me. So I was working on the track at 2 a.m., 3 a.m., even 4 a.m. It was exhausting but worth it.
What makes it even more special is that, just two days after I finished it, Kanye played it at a Jamaican bar in Miami. That was actually the first moment I could share with the world that I was involved in Vultures. It felt surreal.
When I first heard the Playboi Carti verse on it, I wasn’t sure it was him at first. I thought it might be a new artist Kanye was introducing since he’s always bringing fresh talent into the mix. But then I realized it was Carti, and it blew my mind because it was one of the first times I heard him switch from his usual high-pitched delivery to that low, deep voice. That switch made the track stand out even more.
Another favorite is “STARS.” I made the whole beat while traveling home on a six-hour train ride. It was December in Poland, snowing like crazy. I was building the chords around Ty Dolla $ign’s and Kanye’s vocals, and the whole process just felt magical. That one really has my heart.
Of course, there’s “KEYS TO MY LIFE,” which I made it back in 2022. It opened so many doors for me. That track also has a special place in my heart because I brought my close collaborators into it— Veyis, Vinny, and my brother Hubi, from Poland. Getting them onto a Kanye project was a boss moment for me. I was able to take the people I’ve worked with since the beginning and put them on something huge.
Even though I’ve listened to “KEYS TO MY LIFE” so many times that I’m kind of tired of it now, it will always be special.
What advice would you give to producers outside major music hubs like LA, Atlanta, or New York, who want to build their careers and collaborate with established artists?
First, set clear goals and take small steps. Start with something achievable, like a local placement or your first plaque, and build from there. For me, it was about progressing step by step, from making my first placement in Poland to collaborating with international artists.
Second, be present. Travel and meet people in person when you can. The internet is great for connecting, but there’s a level of trust and credibility you gain by showing up and proving you’re someone worth working with.
Third, work hard and don’t let anyone limit you. If someone says, “Don’t do that—it won’t work,” ignore them if you believe in what you’re doing. Nobody really knows what will work, so trust your instincts and go all in with your passion.
Lastly, don’t focus on money early on—it can ruin the magic of creating. Focus on making great art, and the money will follow. I used to think that was just something people said, but I’ve lived it. When you dedicate yourself to the craft, the financial rewards eventually follow.
And trust me, when you look back after a few years of hard work, everything will make sense.
Where do you see yourself in five years?
In five years, I see myself being even more present in the industry, especially in the US. I want to work with more influential artists—maybe even with someone like Beyoncé. And if I could snag a Grammy in the next five years, that would be incredible. But really, who knows what the future will hold? What I know for sure is that I have to stay focused and keep being consistent, just like I have for the past 10 years since I first started making music. Consistency is what got me this far, so I’m excited to see where this mindset will take me.
Follow SHDØW on Instagram: @champagneshdow
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