Bill Cartier is a Welsh music producer who has been making beats since 2021. His passion for music production began when he was listening to producers such as ICYTWAT and Griselda. While he didn't get into making beats at that time, he felt inspired to start making music again when he was listening to a lot of Griselda in 2020. He made his first beat in late April 2021 and has continued to learn and expand his taste in hip-hop production and samples ever since. His taste has evolved to be more abstract and identifiable, with a wider and more eclectic choice of samples. Bill emphasizes the importance of staying inspired by consistently looking for new music from various genres and countries.

Bill's involvement in the underground music scene began when he was approached by Grande Fumo of SUPERFLUIDO to do a series of two EPs with his production. Those EPs ended up being "Legno Volume 1" and "Legno Volume 2." He continues to work on releasing material and collaborating with new artists, including his recent collaboration with Foreign Scripture on the album "Nature of The Deal." In the interview, he discusses the creative process behind the album, including how they communicated and collaborated on the production of the album.

Throughout the interview, Bill shares insights into his creative process, how he stays inspired and motivated as a producer, and provides advice for aspiring producers. He emphasizes the importance of building strong personal confidence in your abilities to filter out ignorance and stay motivated to release quality art. If you want to learn more about Bill Cartier's journey as a producer, his collaboration with Foreign Scripture, and his perspective on the music industry, keep reading.

What inspired you to start producing music, and how has that inspiration evolved over time?

Music production was something I had wanted to try since I was about 13, roughly around Summer 2017. Back then I was listening to a lot of producers like ICYTWAT. I didn't get into making beats at that point though because I felt like I had absolutely no idea where to start with it. Fast forward to around 2020, I was listening to a lot of Griselda and I was hooked on the production. It reignited the desire to start making beats again. In late April 2021, I made my first ever beat and have been learning and expanding my taste in hip-hop production & samples ever since. My taste nowadays seems to be veering to a more abstract style than before. But I'll make whatever I feel like making at a specific time so it varies.

How did you first get involved in the underground music scene, and what have been some of the most significant changes you've seen in that scene over the years?

I first got involved in the underground music scene thanks to the people over at SUPERFLUIDO. Grande Fumo reached out to me in April 2022 asking if I'd want to do a series of 2 EPs with my production. Those ended up being Legno Volume 1 & 2. They were great to work with and gave me a super helpful insight into working collaboratively with rappers and working on a creative rollout. I've only been actively working on releasing material since April 2022 so I can't really comment on how the scene has changed at all, I'm ultimately a student in the scene at the moment. I will say I have come to learn that the amount of talent in the underground goes much deeper than a lot of people may think though.

Can you describe your creative process for producing beats and tracks in more detail, including any specific techniques or tools you use?

Honestly, there is not any strict method to my production. With my stuff all being sample based it is basically all built on the foundation of a feeling. Whether that is a feeling I'm trying to find a sample to express or vice versa changes super often, even hourly at times. I try to make sure there is a very small amount of structured planning behind my beats, I feel I work better when I have no idea what I'm going to make. Sometimes I'll end up making something that's more dance oriented than hip-hop. In terms of tools I use, I either make beats on my laptop using the MPC software or I'll use my SP404 MK2. I don't have a super extensive setup and I like it that way currently, helps to keep things organised.

How did you and Foreign Scripture first connect and decide to collaborate on an album, and what drew you to working together?

I first spoke to Foreign Scripture not long after his Foreign Currency EP dropped, around June last year. I was super impressed with his lyrical skills and knew straight away I wanted to work with him. His taste in production aligned with mine very well. I let him know that I was interested in working with him and by August we had started the process of making the album, I sent him a pack of about 30 beats and let him pick out the ones he liked the sound of the most. The rest is history from there.

What was it like working with Foreign Scrip on "Nature of The Deal," and how did you collaborate on the production of the album?

Working with Scrip was smooth start to finish. Especially considering this whole album was orchestrated through emails and text messages due to him being based in the US and me in Wales. We made it work no problem though. We knew we needed to communicate and share ideas constantly and that's how it went. Basically daily we would send over ideas whether it was tracklist ideas, features or concepts for the visuals for the album's rollout. Every aspect of the album was a joint effort and it came out super well. For example the feature from Slam was organized by me but the features from Cruth and Norm Regular were both organized by Scrip and each feature was picked perfectly for the tracks they appeared on.

Can you walk us through the recording process for the album, including any challenges or surprises that came up along the way?

The recording process was Scrip's job so I can't comment in much detail on that but I will say that he managed to get the whole album recorded in the space of a week. So I can imagine having only that length of time to get a full album recorded must have been a challenge, but he killed it anyways.

What were some of the biggest challenges you faced during the production of "Nature of The Deal," and how did you overcome them?

For me, the mixing and mastering was by far the biggest challenge. This was my first time mixing and mastering anything with vocals so it was a huge learning curve. I still have lots to learn in that area of music but for the first time I've done it I think I did pretty well with it. It took countless hours for me to finish though. The cover art also felt like a difficult challenge but that is the case with anything visual I do. I'll feel absolutely blank for ideas and then I'll just think of something on a whim and it turns out great. This time especially.

Which track on the album is your personal favorite, and why? Can you describe the creative process behind that particular track?

It would be impossible for me to pick out a firm favourite track because this album was refined down to the absolute best tracks we had made. I think solely on a production level I would opt for either Carbon Fiber or Thorough Steppers. Those beats are just crazy. Carbon Fiber being immensely soulful and Thorough Steppers being so gritty. In terms of the lyrical side it's super hard to call, Scrip delivered on every track and all the features delivered too. I think not being able to pick a favourite overall though is definitely a good thing, we wanted a high level of consistency on this album. The creative process behind the tracks was never super detailed. Ultimately, me and Scrip were there to do our separate things, I provided the soundscape and he rapped what he felt was correct for the beat and we just trusted each other's abilities to pick the right things. We both realised very early on that very little input was needed on that area as our creative chemistry was fully there.

What do you hope listeners take away from "Nature of The Deal," and how do you think the album reflects your artistic vision?

I hope people take away that both Scrip and I are just getting started with our individual and collaborative discographies. This is a project that is high quality regardless of any other conditions, and it has been made by two artists below 25 years old. For me personally, this album serves as an update in my production skills to listeners. Obviously I am constantly improving and refining my craft behind the scenes but the audience hear very little of what I make. To put it in further perspective, all my beats are numbered. Prior to me and Scrip working together, my most recent beat to be released on a song from me was No. 387 and now that the album is out the most recent beat I have out is No. 652. So this for me was about showing what I have made over the course of 265 beats. And providing the best to a top-tier rapper to turn these ideas into full songs. Outside of just the music as well its given me an opportunity to show skills like my design through the rollout and artwork.

How do you think your sound and style has evolved over the course of your career, and what have been some of the biggest influences on those changes?

My sound and style has just evolved to be a truer reflection of what I want to express over time. I think a lot of people forget that as you learn a skill you also gain a further understanding of your contemporaries and why you enjoy the things you enjoy. That understanding then influences the style of what you make. It's a maturation of the style of your art, and that doesn't just apply to music. But for me I think this has resulted in a more identifiable style of production. I'm also able to pick from a wider and more eclectic choice of samples nowadays than I was when I started out

Who are some of your biggest musical influences, and how have they impacted your approach to producing music?

Music that has inspired me a lot recently has been work from the likes of Cities Aviv, Conductor Williams, al.divino, Mach-Hommy and any artists adjacent to those names. Listening to these artists more and more has reassured me to just embrace and incorporate imperfect features into my music. Whether that's detuned samples or loops that are slightly off tempo. Earlier in my time making music I would stress over things not sounding professional enough when I should have just been worrying about what the music makes you feel, ultimately to the detriment of the music. I find myself much more appreciative of my music now than I was a year ago just off that alone.

How do you stay inspired and motivated as a producer, especially during times when you might be experiencing creative blocks or burnout?

If I'm feeling burnt out from making beats I just take a break. As simple as that sounds it's by far the most effective way to deal with any sort of creative block at this stage. This is my passion at the end of the day and I don't aim to treat it as a job. From past experience I find it works out much better to take a break anyways as working through beats when I'm burnt out just results in me making beats that feel uninspired and almost directionless. During that break I aim to avoid anything to do with beat making, including trying to watch anything or read anything about how to break out of beat-block. I'll listen to some new music for a while, for a couple weeks sometimes. That is the key to staying inspired - looking for new music. I think any musician who doesn't do this already will benefit from just finding as many artists from as many different genres, from as many countries as possible. It gives you ideas and sources to pull inspiration from that go way further than you could imagine.

What advice would you give to aspiring producers who are just starting out, especially those who are interested in exploring underground music scenes?

My main piece of advice would be to try and build strong personal confidence in your abilities if you are aiming to release music. A lot of people will say things about your music that can be discouraging and often times just ignorant and disrespectful. If you are able to hear your own music and feel 100% confident that you make quality art it will make the jump significantly easier as it will allow you to filter out a lot of ignorance. I feel this is especially important in underground genres as you are at a disadvantage of making music that is less accessible than a lot of music out. So people may be quick to just write your music off just due to the fact it is a style that they might not be familiar with. If you're not confident in your music this could be enough to completely put you off putting music out at all. Even if you do look back at it after a year and don't like what you put out, without the confidence to continue releasing your music your progress is never going to be heard.

What are your plans for the future, both in terms of your solo work and potential collaborations? Are there any particular projects or collaborations you're currently working on that you're excited about?

. I do have a few projects in the works right now. There are 2 EPs - one with Karlino Princip and one with SUPERFLUIDO x Foreign Scripture and there are 2 albums - one with Charlie Wayy and one with SUPERFLUIDO. Besides that I have nothing else planned currently and I'm just going to continue doing what I want to do. I'll continue to search for new artists to work with and do whatever is needed to make the best music I can put out. I have no plans to stop making music so we'll have to see what happens in the next five years or so. I may revisit doing some solo work during that time.

Is there anything else you'd like to share with your fans and listeners about your music or your journey as a producer?

I'd like to thank every person who has shown support, especially those who have personally reached out to tell me how much they've enjoyed the music I have put out whether that has been the stuff with SUPERFLUIDO or with Foreign Scripture. As much as I do this for my own health it is always nice to know there is someone on the receiving end who is able to enjoy their day more thanks to what I make. I am only 2 years into this and I hope I'm able to provide you with more material to enjoy in the years to come. I'd like to thank you also for doing this interview. I hugely appreciate that you're really trying to shine a light on independent artists.