Echoes of the SoundCloud Era: Charlie Shuffler's Evolution in Music Production

From the 2016-2017 Underground Origins to Red Bull Records.

Photo by Conlan Thompson

Hip-hop today wouldn't be the same without the 2016-2017 SoundCloud era. It was a time when bedroom producers and underground artists took over the scene, changing the game with their DIY approach and boundary-pushing creativity. Some of the most notable names from that era come from the emo rap collective GothBoiClique with Lil Peep, Lil Tracy, and Cold Hart. Alongside these artists was producer Charlie Shuffler from Long Beach, California, who played a pivotal role in shaping the distinctive sound of GothBoiClique. 

1202 MAGAZINE discussed with Shuffler his journey from the SoundCloud era to landing placements with artists like Lil Yachty, CLIP, and ALEXSUCKS while still staying connected to the underground scene across various genres and producing for artists including Groupthink, Jonah Roy, and Godly the Ruler. Additionally, with his recent signing to Red Bull Records, he anticipates developing his production style further and building authentic connections with up-and-coming artists.

What made you get into producing music?

Funny story, but out of high school, I went to college in Nebraska, and I was playing football there. And I got hurt. So basically, I would stay in my dorm room making beats, and I kind of always knew I wanted to be in music. That's kind of how I got into producing cause I knew I couldn't rap or sing. In the back of my head, I was a kid. I just knew I wanted to do something in music, but I just didn't know what that meant. And just like everyone else, I was listening to music, finding music, and so it's always been a passion of mine. 

So you were around the 2016-2017 SoundCloud era. How do you think things have changed ever since then?

That’s a good question. A lot has changed, but a lot hasn't at the same time. I mean, for me personally, what's changed is when I was making music in that era, I felt like I was learning the industry, and I was learning just how to make beats properly. When I was in that scene, I didn't really know it was going to be a scene that was going to be talked about. I feel like the SoundCloud era kind of felt like anyone could be a part of it. Before people normally put their music on Spotify and Apple Music, it was SoundCloud. And nowadays, I guess it's a big difference when any artist can put their music on Spotify. And it's way easier.

There are so many distribution services now, like Distrokid or Bandlab.

Exactly. Even the band lab stuff is crazy because that's almost like a re-edition of this 2016 SoundCloud scene because now kids can make music on their phones with Apple headphones, and it sounds good. It's fire and so accessible.

How did you make your connections into GothBoiClique?

So I used to play with an artist named Cold Hart, and he was in GothBoiClique. He kind of was my introduction to everyone I met in music and in that whole scene. And I just met him on Twitter. Coincidentally, he's from Long Beach, and we met when I first started making beats. But I was on Twitter, and I was basically going down a rabbit hole trying to find artists to work with, and then I came across Cold Hart’s profile. And he tweeted, “Send me beats,” and I sent the beats, and he used a couple of them. 

How do you think that era impacted hip-hop culture?

I feel like all that shit still can be seen a little bit now. Even face tats, and I know people had face tats before Peep, but I feel like he was one of the first rappers to just get his face tatted, and now it's a normal thing. Like the pink hair and the extra long sleeves still find their way into today’s culture. Now I feel like there’s more intention with it, whereas Peep and GothBoiClique it was more like a spur-of-the-moment. 

What’s something you wish you could tell yourself during that time?

Oh damn. A lot, honestly. There are a couple of things. First thing, knowing what I know now just about the musical side of things, there are so many tips and skills that I wish I knew. I think the second thing would be, I know it sounds cliché, but just enjoy the moment. 

How old were you during that time?

Probably 19 or 20. And honestly, the most fun times I had were when I didn't know what I was doing and when I was struggling or had no money. Those were the funnest times I had. 

How did you work your way up into getting producer placements with mainstream artists like Yachty?

Well, he just hit me up on Twitter and just asked me for beats. It was pretty random. Like now, a lot of the stuff I make is pop music, old pop, and indie rock stuff. A lot of the stuff earlier was super random and just through the internet. And now I just signed a deal with Red Bull, so now I'm always in the studio like with the artists. Before, I was just emailing beats; now, it’s more hands-on. 

Photo by Conlan Thompson

Do you think it’s important for artists and producers to experiment with other styles instead of just sticking to one genre?

I mean, it's really just up to you and what you want to do. I think for me, it's always been important. It's kind of how I've been able to stay afloat and relevant. I do a lot of different stuff. But some people, they just do rap, or pop, or they just do rock. And it works for them. 

What made you want to go from rap to more alternative and a mix of indie pop?

I don't know because I still do the rap stuff, but I think the next step for me and my career was to just stay afloat. Honestly, I feel like if I kept doing just rap stuff, it wasn't gonna get me anywhere. 

What are your thoughts on the new hip-hop Underground? 

I fuck with it, honestly. 

Who are some of your favorites?

Benji Blue Bills, Lazer Dim, Xaviersobased. I think there's a lot of cool up-and-coming alt-rock and indie stuff, too. I feel like there's a lot of cool shit, and it's lowkey because of BandLab. It gives everyone access to the music.

What's your advice to younger producers who want to start working with artists?

Well, I think now it's really important to find an artist that you really fuck with, even if they're not big. It's a lot better to grow with an artist who's up and coming organically. It's also just easier to get in touch with them. But I would say a lot of rappers now will just post their emails, so that's one way to network. I would also say just be like in the scene, even if you're just online. There are ways to be in scenes, even if you're not physically present, like on Instagram and Twitter and shit. A lot of it is the right place and right time. That’s how I met Peep. It was organic. When I was making music for GothBoiClique, I was just making it cause I liked it. I didn't know it was going to be a big thing or try to make it blow up. I was just doing what I liked to do. I think that's important too.