Tracklist:
⏳ 00:00:00 DrewsThatDude - Dive
⏳ 00:01:25 DrewsThatDude - Palace
⏳ 00:02:01 Drake x Chris Brown - No Guidance (DrewsThatDude Remix)
⏳ 00:03:58 DrewsThatDude - Nimbus (Interlude)
⏳ 00:05:17 24Hrs/ Ty Dolla $ign - BackOut (DrewsThatDude Edit)
⏳ 00:07:24 DrewsThatDude - Hometown
⏳ 00:09:06 Elhae x Ty Dolla $ign - Bang Your Line
⏳ 00:10:14 ⏰ Saaj - Slo Down
⏳ 00:11:43 DrewsThatDude - Virgo (Sample)
⏳ 00:13:10 Thundercat - Friend Zone
⏳ 00:15:53 Tek.Lun - Comin out Da Wormhole
⏳ 00:18:35 Koffee - Toast (Zikomo Remix)
⏳ 00:20:58 Tek.Lun - wuntootri
⏳ 00:24:05 PartyNextDoor - Run Up (DrewsThatDude Remix)
⏳ 00:25:56 DrewsThatDude – Gossip
⏳ 00:26:40 DrewsthatDude x Lokre - Buh Bye II
⏳ 00:30:35 DrewsThatDude Rose
⏳ 00:32:43 Tek.Lun - facechiq
⏳ 00:34:42 DrewsThatDude - Chanel
⏳ 00:37:39 Chris Brown - Liquor (Remix)
⏳ 00:40:07 Eric Bellinger - Drive By (DrewsThatDude Remix)
⏳ 00:42:23 Eric Bellinger - Snappin & Trappin (Less is More Edit)
⏳ 00:44:35 Rihanna - You Da One (DrewsThatDude Remix)
⏳ 00:46:06 DrewsThatDude - Tilted
⏳ 00:48:10 DrewsThatDude x Joey XL - Patience
⏳ 00:50:32 SiR - D'evils
⏳ 00:53:22 Ariana Grande - In My Head (DrewsThatDude Edit)
⏳ 00:56:44 Blakk Soul - Get Right
Block FM Interview: Producer DrewsThatDude, who worked on Mac Miller’s tracks, explains why he launched the new label “We Had Our Time”
Block FM: It’s been a while! How have you been?
DrewsThatDude: I’m doing great. It’s been a long time, huh? Look, my hair’s grown so much since we last met, right?
Block FM:Yeah, it’s gotten really long. What have you been up to lately?
DrewsThatDude: I’ve been livestreaming on Twitch almost all day, every day (laughs). Aside from that, I’ve been making beats, launching a new label, and releasing music—basically keeping myself busy however I can.
Block FM: With everything going on this year, a lot of artists are spending more time livestreaming and producing. Have you experienced anything new since you started streaming?
DrewsThatDude: I’d never set up a webcam or streaming environment before, so I had to figure all that out myself. I also upgraded my internet to a faster plan. I learned some video editing, tried out graphic design—I’m experimenting with all sorts of things to level up what I do. I feel like I’m becoming more of an all-around creator. And the biggest difference is that I’m engaging more deeply with my fans through streaming. I wish I’d started sooner.
Block FM: Different artists have mentioned learning new skills during the pandemic, and it seems like the creative industry could change once COVID is over.
DrewsThatDude: Definitely. A lot of us had to rethink our finances too—like, I used to commission quick art designs for small projects, but now I need to be more careful about money and consider whether I can do those tasks myself. Basically, I need to manage my finances more thoroughly and see what I can handle on my own.
Block FM: So you’re becoming a creative pro who can do it all. For beginners who want the same quality of streaming setup you have, where should they start?
DrewsThatDude: Well, first off, you need a solid computer. I thought the one I had was good enough, but it turned out to be borderline for streaming. Next, get software like Streamlabs OBS or OBS3 for streaming, plus an audio-routing app. I use ASIO Link Pro to send the audio directly from my computer programs to Twitch or wherever I’m streaming.
Block FM: You mentioned deeper engagement with fans. How has that changed?
DrewsThatDude: It’s gotten really close. It’s a bit like SoundCloud back in 2015, where fans and artists interacted a lot. Twitter and Instagram don’t even feel like proper social media to me anymore. Twitch gives me immediate feedback: I can ask viewers right then, “Where should I release this track?” or “Which streaming service do you like best?” and they’ll respond in real time. Actually, I started uploading music to YouTube because fans on my stream suggested sharing my older tracks there. I used to post remixes on SoundCloud, but it’s harder now with all the copyright strictness. They said, “YouTube is more flexible,” so I gave it a try. Oh! And a fan even sent me a PS4 (laughs).
Block FM: They just sent it because they’re a fan?!
DrewsThatDude: Yeah, shout-out to Kojack! I kept mentioning on stream how I wanted a PlayStation but didn’t want to buy a PS4 if PS5 was coming soon—wasn’t sure if I should hold off. He was like, “I have an extra PS4, I’ll send it your way!” I even offered to pay shipping, but he covered that too. He used to be just a supporter in the chat, but thanks to Twitch, we’re actually friends now!
Block FM: block.fm’s followers and listeners probably know your sound through MIX BLOCK or social media, but there might be plenty who don’t really know who you are as a person. Could you introduce yourself again—like how you first got into making music? I recall it started because a friend was producing and you thought you could do it too, right?
DrewsThatDude: My sister was taking piano lessons and wanted to quit, but because her piano teacher was a family friend, it was hard for her to back out. Eventually, they were discussing her quitting while I was just tinkering on the piano. I ended up taking lessons in her place (laughs). So I started at age five, but by fourteen I got bored of piano and wanted to do something “cooler,” so I picked up bass. Through bass, I really fell in love with music—especially psychedelic rock bands and stuff like that. By sixteen, I was playing basketball, met a friend who produced music, and was blown away. He hadn’t done music before but was creating on a computer, while I had years of piano and bass yet couldn’t make beats. Plus, he went down to Harlem near us and sold beats for a few hundred dollars! I wanted in. My bass teacher was also in a psychedelic band and talked a lot about how great their producer was, so that also made me want to become a producer.
Block FM: You’ve produced for some major artists. Which tracks have been your favorites, and could you share a bit about working in the studio with them?
DrewsThatDude: I love everything I did for Mac Miller—like “Face In The Crowd.” I also love the stuff I did for Trey Songz, ELHAE, Jay Prince—just so many. Working on Mac Miller’s Swimming album was a blast. I ended up contributing production on “So It Goes,” but I visited his house multiple times during the album’s creation, and it honestly never felt like work. We’d been friends since around 2010. Rest in peace.
Block FM: That track is one I listen to a lot (laughs).
DrewsThatDude: Thanks, I appreciate that. But to be honest, it’s only recently that I’ve felt confident in my own work. Sometimes artists pick a beat from the selection I send them that I don’t personally love as much. Of course I’m happy they use it, but I’m often like, “Really, you chose that one?”
Block FM: What happens to beats you loved that an artist didn’t end up using?
DrewsThatDude: That’s basically why I started self-releasing my music! I have a lot of cool beats that just never got used. It’s a shame to let them go to waste.
Block FM: Are those unused, self-released beats what you’ve put into your “Vault” series? You recently dropped Vault III. Could you talk about how you started that project and any future plans?
DrewsThatDude: Exactly. When streaming platforms like Spotify first came around, I wondered how to build an audience there. I realized I had tons of unreleased tracks in my “vault,” and that’s how this series began. I always planned to release up to three volumes, but now I might go up to five. Doing four just feels off. So if I keep going, I’ll push to five (laughs). I usually decide on a rough schedule ahead of time and pick which tracks to include about a year later.
Block FM: Between The Vault and The Vault 2, how did your process change when you made Vault III?
DrewsThatDude: Six or seven tracks on Vault III were made during Twitch streams. I knew I’d drop Vault III in January, but I never imagined I’d create those beats live on Twitch.
Block FM: Which track from the Vault series is your all-time favorite?
DrewsThatDude: I recently revisited the first The Vault and it brought back a lot of memories—like who I collaborated with, or how one track blew up on SoundCloud. But honestly, out of 15 songs, I only like about 4 of them now. Back then, I liked each one; over time, your perspective changes. It’s kind of like a relationship—when you’re dating, you love that person, but when you look back now, you’re like, “Yeah, it was a good experience.” There are some I still feel positive about, though. I’ll always love “Salute Remix,” and “Flirt” which I made with Cavalier. Interestingly, the songs I think are best usually match what my fans think is best—that’s clear from the numbers.
Block FM: For someone like me who can’t produce music, I can only say whether I like or don’t like a track. How do you judge whether you like something?
DrewsThatDude: It often has to do with gear and software. I might listen to an older track and think, “This section’s interesting, but I really don’t like that part anymore.” But that just means I’ve grown as a producer. Realizing I’ve improved, even if I no longer like the old version, is still a happy feeling.
Block FM: What inspires your production style the most?
DrewsThatDude: I love traveling. I often imagine different locations and scenes when creating. Women are also a huge inspiration—there are so many elements, like clubs, strip clubs, dancing…all those vibes inspire me. Also animation. I can’t draw, but I love watching cartoons. The colors and motion in animations really inspire me. Sometimes even a storyline in anime gets me pumped—like a battle scene, for instance.
Block FM: Your latest release, We Had Our Time, what were you picturing when you created it?
DrewsThatDude: I was thinking of cities I love—Toronto, Paris, Tokyo, and, though I don’t love to say it because it’s my hometown, New York. Plus London. I wanted to combine the vibe of those places with a psychedelic feel. The cover art reflects that, too—it’s kind of a psychedelic, Japanese-style city in an animated form.
Block FM:Vault III is the first release on your new label, We Had Our Time. Why start this project?
DrewsThatDude: I wanted a clearer platform to release the music I’d been making. I’ve done personal releases before, and I’m still part of Huh What & Where, but I wanted to establish my own sound more firmly. Plus, communication becomes smoother. When you approach brands, if you come in as just “the artist,” they sometimes don’t take you as seriously as they do if you’re running a label. Acting as an executive shows you’re serious. I’m grateful my manager Joe handles the back-end for the label; I also have some artists who want to release through us, which is great.
The first release was Vault III. Next, I plan to release an EP featuring The Crushboys, who appeared on the We Had Our Time album, produced by me. We aim to drop that in the first half of 2021. After that, I’ll release a joint project with a friend. I want to focus mainly on R&B, but we’ll also do some hip-hop. I’m also talking to some Brazilian artists because I want to bring in international talent. Ultimately, there’s a lot of music I want to release, and I’d like one centralized place for all of it. When you’re working through other labels for an artist, there can be delays. I want to produce and release on my own timeline.
Block FM: So will you be releasing music from other artists too?
DrewsThatDude: Yep. I definitely want to put out other artists’ music in the future, but I’m starting with my own work to shape the label’s sound. I want to establish that brand identity first. Also, it’s my first time running a label, so I want some hands-on experience. Then when I bring on other artists, I’ll be prepared to manage them effectively.
Block FM: Sounds exciting! Thanks for your time today.
Shortly after our European shows, we had another amazing opportunity to take our sound even further—leading to the longest flight I’ve ever taken. That flight itself was an experience (including a random, emotional viewing of Interstellar). Our first stop? South Korea, where we brought our music to the legendary Cakeshop.
Located in the heart of Seoul’s Itaewon, Cakeshop has a playful warehouse aesthetic with exposed concrete, steel, and dark red lighting. It’s a true underground basement club at its core but there’s also a laid-back night terrace for when you need a breather. Interestingly, it started out as an illegal strip club.
Immediately afterward, we headed to Japan, which was also a first for me. As you can tell from my cover art since 2016—and the AI art I’ve been making—Japan plays a huge role in my creative inspiration. It’s also one of the first places outside the U.S. to truly support my music.
Clubasia - A long-established club and live house that has been at the forefront of club culture in Shibuya since it opened in 1996.
How underground club music in China is thriving against the odds
My solo tour in China took me through Chengdu, Shanghai, and Guangzhou—a journey filled with incredible culture, food, and fashion. It was fascinating to see how seamlessly tech influences daily life there. At one point, I even watched someone purchase a Louis Vuitton coat with just a quick QR code scan. Another highlight was getting my Shanghai show mentioned in FACT Magazine, which described the city’s forward-looking vibe: cutting-edge fashion, art, and music collectives revitalizing the cultural landscape. Venues like Arkham have become hotbeds for both local and international talent (they’ve hosted artists ranging from Joey Bada$$ to Machinedrum), and I was honored to bring my own style to that mix. Seeing “East meets West” come to life in such an upbeat, creative environment was an unforgettable experience.
This tour was a whirlwind of culture, inspiration, and unforgettable moments. I’ve tasted mouthwatering food, soaked in stunning fashion scenes (including that mind-blowing Louis Vuitton QR code shit), and shared my music with some of the most vibrant, open-minded crowds I’ve ever encountered.
In Japan, I saw first-hand why its culture played such a huge role in shaping my art since day one. In Shanghai, I caught a glimpse of a rapidly evolving creative scene, fueled by forward-thinking fashion, music collectives, and more affordable spaces.
Having my show mentioned in FACT Magazine—right alongside local talents and international headliners—was an honor, reminding me how music can bridge the world in effortless ways.
All of these experiences have poured back into my work: the covers, the AI art, even the sounds I’m experimenting with on upcoming releases. I’m incredibly grateful for everyone—venue owners, promoters, fellow artists, and most of all, the fans—who’ve supported me along the way. Here’s to the next chapter!
What’s On the Menu?
🎧 We Had Our Time Radio: Episode 004
📅 2.28.25 | 10 AM EST
Start your weekend right!. Each week, I’m bringing a curated blend of hip-hop, R&B, soul, and electronic music, perfect for chillin, studying, or working.
Celebrate the season by streaming Pisces (Single) and Aqua (EP) on Bandcamp, SoundCloud, Apple Music, Spotify or YouTube.
About Us
We Had Our Time is a NYC-based music licensing and soundtracking boutique, specializing in syncing music for commercial productions, including cinema, TV shows, brand advertisements, and collaborations with record labels and publishers.
Relapse: The Ghosts We Can’t Leave Behind
Relapse is a manga-inspired, semi auto-biographical graphic novel that follows Drew, an ambitious musician navigating the chaos and beauty of the music industry. It’s a journey of introspection, personal reckoning, and rediscovery.
Discography
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