Emerging German producer Sebastian “Basbeats” Loers is the beat maker behind Skeng‘s “Likkle Miss,” which soared to No. 2 on the US Hip Hop iTunes chart after a remix by Nicki Minaj. The song won Collaboration of the Year at the 2023 Caribbean Music Awards.
In an exclusive interview with WMV, Basbeats opens up about his musical journey, from humble beginnings in 2007 to becoming a name synonymous with cutting-edge dancehall. He shares insights into his creative process, experiences working with A-list artists like Nicki Minaj and Skeng, and the making of “Forward From Trini,” a track for Nicki Minaj’s Pink Friday 2 album featuring Skillibeng.
Basbeats delves into the intricacies of his production techniques, addressing the alleged sample controversy surrounding the track and shedding light on the collaboration’s genesis. Despite residing in a country with a limited dancehall scene, he has carved a niche for himself, by looking to Jamaica and producing hits for artists like Stalk Ashley, Lincoln3Dot, and more.
What’s your musical background?
I started making music together with a friend, “Buddi MC” in 2007. We recorded a few songs back then just for fun. After that, I wanted to be an underground producer working on underground projects. In 2018, I trained as an audio engineer as I thought that’s what I needed to do to up my skills so that I could make beats for a wider audience. 2019 was a difficult time for me as Covid has changed my life quite a bit. So during Covid I did everything I could to develop my own style to stand up to all the competition out there. I think it was 2021 when I contacted Melio on insta. At that time I already had my first dancehall track out with ZJ Liquid.
Melio taught me a lot about dancehall culture and that’s how I got deeper and deeper into the
music and understanding the culture.
You reside in Germany, is there a big dancehall scene there?
Not really. We have a few reggae artists like Gentleman, but that’s about it.
You produced Skeng’s “Likkle Miss” but your name is not in the credits on YouTube, how come?
Yes I was the guy that produced Likkle Miss. I sent the beat to Melio and he sent it on to
Droptop. Droptop then presented the beat to Skeng and from there Likkle Miss was born. Likkle
Miss was basically my first major production.
Which other dancehall song have you produced?
Stalk Ashley – Earthquake, Lincoln3Dot – Gyal Dem Time, Cutty Ranks – Legends in 2000, ZJ Liquid – Love Me, Badda General – Dun Di Place, And some more.
Can you elaborate on the creative process behind producing “Forward From Trini,” especially considering the alleged sample from Dave Kelly?
There is no sample in my production. The track is a mix of two productions. In the main production I was looking for a sound that picked me up and that’s how the vocal chop melody came about. I’m a big fan of old school dancehall drum patterns but at the same time I was trying to create something new so I decided to use several drum patterns. I think that brought a lot of dynamics to the song. As I was also making drill back then there are a lot of percussion and other sounds all over the beat. But I tried to make it so that the production
wasn’t too overloaded. My last decision was about the bass sound …I also decided to use a more old school dancehall bass and a more typical drill bass with slides etc. in the other part.
The second production which was based around an accordion sound was more for fun. I ended up with the accordion melody and thought it had to be a double time dancehall beat. I love this beat so much and I think papa bear had to dance to it. In the end I think both productions turned out very unique and that was my goal.
It was Nicki’s team that had the idea to combine the productions and you can hear the switch up
in a few bars in the middle and a few bars at the end of the track.
What inspired the collaboration with Skeng and Skillibeng for this particular track? How did you first
get involved with Nicki Minaj for this project?
I wasn’t involved in that part. Nicki Minaj heard the track via insta from Melio who i had sent the
track to. Then Droptop was in LA with Skeng when he was recording with Nicki Minaj. Droptop
reminded Nicki about the track and she had the great idea to put Skeng and Skillbeng on to the
track together as features. So big shoutout to Droptop.
Do you have more dancehall songs coming out?
Sure, I’ve been working on original productions and on dancehall remixes.
Were there any specific challenges or unique aspects you faced while producing “Forward From Trini”?
No challenges,I just tried to combine some drill sounds with old school dancehall. One with the
vocal chop melody and the other beat with the accordion melody. Then as I said, Nicki decided
to combine the 2 productions on one track which was pretty cool.
Can you clarify the discrepancy regarding the sample attributed to Dave Kelly and his denial of its existence in the track?
No I can’t but as I said there is no sample in the track.
Can you say why Dave’s name is on the track along with another producer? What’s the split like?
I cannot and obviously I won’t say anything about any deals.
Were there any musical influences or specific sounds you aimed to incorporate into the production
of this song?
I am generally inspired by all sounds. However, I don’t really listen to that much music, so I don’t
let other songs influence me. I think my most important rule is that I don’t follow any rules. What
is also important to me in the end is that I like the production. And, of course, people should
dance to it.
What has been your greatest achievement in the business?
Having artists of the stature of Nicki Minaj, Skeng and Skillibeng bless my productions on “Likkle
Miss” and now “Forward from Trini”.
What was it like working with Nicki Minaj? Did you learn anything new ?
I didn’t work with her directly but through working with her team I learnt that she is very creative
and prepared to try different things, maybe she is a perfectionist as we were tinkering with the
production and going back and forth with ideas right up until the last minute.
In terms of the overall vibe and atmosphere, what were you aiming to convey through the production of
“Forward From Trini”?
Definitely something you can go crazy on. I think that’s ultimately what a lot of my productions
are about. For me, in the end the listeners should be able to have fun and dance. The first production was more, as already mentioned, a combination of drill sounds and old school dancehall. The idea was simply to create something new. The second production with the accordion was just pure fun.
Could you share any insights into the role of technology or specific software/tools used in creating
the unique sounds and beats for this song?
There was nothing special. I am using FL Studio, Ableton or Logic Pro depending on what I need. I do not limit myself to technology at all.
