Cartune Beatz & 800 Hertz: The Twin Brothers Rising in Hip-Hop Production

Interview Terrell “ReaLife” Black Photography Richard Blount for Forming Your Vision Media

In the ever-evolving world of hip-hop, twin brothers Cartune Beatz and 800 Hertz are quickly making their mark as two of the genre’s most promising up-and-coming producers. With a shared passion for music and an undeniable work ethic, they have built an impressive catalog, producing for artists such as Lloyd Banks, Benny The Butcher, Redman, Method Man, Bun B, Ice-T, Dave East, RJ Payne, Young Buck, Fivio Foreign, and Yung Bleu—just to name a few.

Cartune Beatz has been making waves in the hip-hop scene, securing placements with legends and rising stars alike, including Royal Flush, Mickey Factz, and Youngsta CPT. Meanwhile, 800 Hertz gained international recognition in the UK drill scene with Russ Millions’ viral hit “Link Up”, before transitioning back to the U.S. market, where he has racked up an impressive resume and earned three Billboard plaques.

In this exclusive VALIDATED interview, the twin production duo discusses their journeys, creative processes, and what’s next as they continue to rise in the hip-hop industry.

VALIDATED: I’ve got a couple of sibling rivalry questions—who’s the better basketball player, and who’s got the dopest beats?

CARTUNE BEATZ: I’d say, basketball-wise, I’ve had the edge over 800 for some time—lol—not that he wasn’t good. We both can shoot the lights out of a gym, but I was a little better, I think.

800 HERTZ: Growing up, Cartune was always a little better at basketball. I think I closed the gap at one point, but it was while we were separated (in college), so we didn’t play together much. As for beats, I think he’s better at certain kinds, and I’m better at others. It really just depends on how long we stick with a certain style since we’re both equally capable.

VALIDATED: Is there any brotherly competition when it comes to your production work? How do you push each other, and do you ever find yourselves trying to outdo one another in the studio or with placements?

CARTUNE BEATZ: Being twins and competitive, there’s always some brotherly competition. We use it as a tool to better ourselves and push each other to a higher level, production-wise. We compare placements, Billboard plaques, etc.—lol. It makes things fun because we both find ways to excel in something we love, which is music, just like we did with basketball.

800 HERTZ: We push each other all the time. We send each other beats we make and try to keep each other motivated to improve. As for trying to outdo one another, we’re competitive in a friendly way, but the goal is for both of us to always be at our best.

VALIDATED: How would you each describe the other’s production style and sound? Are there any distinct characteristics that set your individual approaches apart, and how do those differences influence the music you create together?

CARTUNE BEATZ: Our sounds have some similarities but are also very different since we work with different types of artists. We both have the talent and capability to make just about anything for any artist, which is one of our biggest strengths. Lately, 800 has been a little better on the melodic side. And when we collaborate on beats, you can hear elements of both our styles stand out in the production.

800 HERTZ: I think it just depends on who we’re making beats for and what style we’re working on. We’re both talented enough to master any style if we focus on it long enough. If we spent a month locked in on techno, we could do it. I think there are subtle differences—my beats tend to be a little more melodic, but that’s mainly because I’ve spent more time developing that sound and have found a lot of success with it.

VALIDATED: You’ve worked with a range of artists—how do you decide which artists or projects to take on, and what’s your process for making sure the vibe aligns with your sound?

CARTUNE BEATZ: For me, I just listen to artists, and if I like what I hear, I reach out to see if they’re working on a project—whether they’re well-known or underground. I can adjust my production to fit any artist I work with. Right now, I’m mostly known for my sound being tied to traditional hip-hop, but that will be changing soon as I start working with artists in a more modern sound.

800 HERTZ: I try to work with artists whose sound I feel fits me best. Melodic styles come easier to me right now since I’ve put a lot of focus there, but I’m flexible with what I create. It’s all about collaborating with the artist to make the best music possible.

VALIDATED: You’ve been grinding since our 2023 interview—what placements have you checked off your bucket list since then?

CARTUNE BEATZ: I have a long bucket list that I’ve barely scratched the surface of—lol—so not a ton yet, but I did produce the theme for the AEW wrestling tag team The Hurt Syndicate, which is currently one of the most popular songs in all of pro wrestling. So that’s pretty cool.

VALIDATED: You have a lot of projects in the works—how do you balance working with so many different artists while maintaining your own sound?

CARTUNE BEATZ: For me, I naturally just work hard. Balancing time isn’t always easy, but at this point, it’s the only thing I know. When it comes to advancing my career or bettering myself, I don’t really know how to take it easy. I always work with the sound an artist is most comfortable with, but I also introduce my own flair to make it unique. That’s what I think sets me apart from other producers an artist might work with.

VALIDATED: You’ve got two records on Gorilla Nems’ latest album, America’s Sweetheart—Track 2, “Go Fat Boy,” and Track 8, “Light The Room.” What’s your take on the success of “Go Fat Boy,” and what does Nems mean to Coney Island’s hip-hop scene?

CARTUNE BEATZ: “Go Fat Boy” was dope because Nems took the record in a direction I didn’t expect. He basically made it a party record, even though the beat has a dark vibe, which I thought was creative. Obviously, as the album’s single, it stood out. Having Ferg think the record was fire and add his vocals and ad-libs was also dope.

Nems, at this moment, essentially is Coney Island hip-hop. When you think of Coney Island and hip-hop, he’s the first artist that comes to mind.

VALIDATED: You’ve got a full project with RJ Payne, who’s been one of my favorite lyricists of the past decade. What can you share about it?

CARTUNE BEATZ: I work with RJ and talk to him pretty much weekly. We have multiple projects we’ve started, but the ball is really in his court as far as if and when to let the world hear them. He’s working on a lot of amazing things at the moment.

VALIDATED: New music is on the way from the Mayor of Queens, Royal Flush, and you’ve got three records on the album. How did you connect with the New York legend for this project?

CARTUNE BEATZ: I knew of Flush from my run in the traditional hip-hop scene, but I was actually put directly in touch with him through my guy Icon, who owns Icon Varsity. After Flush and I got in touch, we kept in contact, and working with him was pretty easy. He’s a legend and a veteran, so collaborating with him was dope! He’s also been a great person and has given me some industry advice as well.

VALIDATED: Word on the street is that you and Bronx emcee Mickey Factz have a full project in the vault. What can you tell us about it, and when can fans expect to hear it?

CARTUNE BEATZ: Yup, Mickey and I have a super dope project with some fire production on the way! That should be out sometime this year. Mickey is another veteran who gives me a lot of industry advice—he’s like a hip-hop big bro. He’s even reached out to other artists on my behalf to try to get them my production multiple times. He’s a solid dude for sure.

VALIDATED: Whenever Lloyd Banks drops the third installment of his All or Nothing mixtape series, you’ve got a placement. How did that come together, and what can we expect from your involvement on the project?

CARTUNE BEATZ: As most people know by now, I send Banks a ton of beats year-round. That placement landed the same way the others did, but he definitely had a particular sound he wanted for AON. As of now, I have one record on the project, but this will be the first project he’s put out since his return that I won’t have at least three records on. To me, it’s actually a nice little break, even though I always strive to have multiple records on his projects. I think most people now expect me to have a handful of records on everything he drops, so this will show that I’m human and can’t always land four to six records on every project.

VALIDATED: You’ve also got a track on the recently dropped Teknology album from Tek of Smif-N-Wessun and Termanology, called “Money Deposits.” How did that collaboration come about, and what was the creative process like?

CARTUNE BEATZ: That record was actually something Termanology and I had done a while back. He put my guy Tek on it—who I also have a working relationship with—and added Easy Money as well. That’s definitely my favorite record I’ve done with Term so far, but we’ve got more on the way! Both Term and Tek are super dope people before they are artists, so the fact that they’re hip-hop legends only adds to that.

VALIDATED: I’m sure I’ve missed a few, but who are some of the other artists you’re currently collaborating with? What can you tell us about those projects and how they’re shaping up?

CARTUNE BEATZ: Man, this has been the busiest I’ve ever been in music, but I love the opportunities and the pressure to deliver! I’ve been working with a dope artist from Harlem, Errol Holden—dude is an absolute alien lyrically. I have a whole album on the way with Youngsta CPT, a big artist from Cape Town, South Africa. Youngsta is one of the best rappers in Africa, period. I also have a whole project with another Harlem legend, NymLo.

I’ve been sending beats to Smoke DZA, Freddie Gibbs, Jadakiss, Styles P, Conway, Ghostface—man, the list goes on. It’s hard to keep up! I even recently sent Moneybagg Yo a beat pack. But as I said, I’m definitely looking to get more mainstream placements this year. That’s at the top of my to-do list.

VALIDATED: You’re all over the New York hip-hop scene these days, from Statik Selektah’s birthday celebration to Nems’ America’s Sweetheart album release party, and Tek & Termanology’s Teknologyalbum release event. What’s it been like being a part of these major moments, and how do you stay connected to the heart of the scene?

CARTUNE BEATZ: As cool as it is to go to these events, for me, it’s always work. I go to support the artists I’m working with and network in person with other artists who show up. I’ve built a lot of my connections by doing this, and it’s important to do more than just sit behind a computer sending beats. It’s not always easy or convenient, but I do it to advance myself and make real connections.

Getting in at 3:00 a.m. and then having to be up at 6:30 a.m. to get my daughter ready for school can be rough, but it’s all worth it.

VALIDATED: I’m paraphrasing, but you’ve said, “Achieving the goals you’ve set for yourself should be all the motivation you need every single day.” Can you expand on what you meant by that?

CARTUNE BEATZ: What I mean by that is, as long as you have goals you’ve set for yourself, you shouldn’t need much more motivation than that. Of course, we all have our why—whether it’s family, financial freedom, or just genuinely loving what you do—but holding yourself accountable for the things you tell yourself you’ll accomplish is important. If you can’t keep your word to yourself, how can you keep it to other people?

VALIDATED: You started dabbling in music and production in high school, but it wasn’t until 2013 that you started taking it seriously. What was the turning point that made you decide to pursue music as a career?

800 HERTZ: I realized that not only did I enjoy making beats, but I was pretty good at it. I wanted to challenge myself to see how far I could take it. I didn’t want to waste this ability I had to create music from scratch, so I figured—why not go all in on it?

VALIDATED: After graduating college, you realized your talent for making beats. What were those early days like as you tried to break into the mainstream?

800 HERTZ: There was a huge learning curve—both in understanding how the music industry works and how to create at a high level. I had to learn the basics of mixing and mastering beats to get the best product. I had to learn how artists go about picking beats and the best ways to reach them. I also learned how difficult and competitive it is—there are millions of people trying to do the same thing, reaching for the same people, all just looking for a shot.

VALIDATED: Were there any producers or artists who inspired your production style when you were first starting out?

800 HERTZ: I liked 808 Mafia beats—the Lex Luger beats, Shawty Redd, Timbaland, Drake’s producer 40—there are too many to name. But I was always interested in who made the beats for songs I liked, and I would look them up.

VALIDATED: One of your first major placements came through social media when you connected with Young Buck, leading to the release of Wit Dat Choppa. How did that opportunity come about, and what did it teach you about networking in the industry?

800 HERTZ: Young Buck followed me back on Twitter one day and wound up DMing me an email to send beats to after I tweeted at him several times trying to work. It materialized from there—he told me he worked on one of my beats, but that song was never released. Shortly after that, Wit Dat Choppagot released. That let me know my beats were starting to be up to par for high-level artists, so I just had to keep pushing and sending beats to whoever would listen.

VALIDATED: After struggling to land placements in the U.S., you turned your focus to the UK rap scene. What drew you to UK drill, and how did you manage to break into that market?

800 HERTZ: I knew music is about exposure, and I saw on YouTube that UK rappers had songs with half a million, one million, two million views. I felt like that was good exposure no matter what country it was. UK drill was becoming very popular at the time, and since I was already working with UK artists, I tried making UK drill beats to get more exposure and keep up with their market. It definitely sharpened my skills as a producer.

VALIDATED: Your collaboration with Russ Millions in 2018 resulted in a song that trended #1 on YouTube and has since racked up over 10 million views. How did that moment impact your career?

800 HERTZ: Stream and view-wise, that’s still one of my biggest songs to date. I collaborated with a UK producer named Jamma Beats, and he put the beat on his YouTube channel. Russ Millions discovered it, used it, and it took off from there. That really helped propel me in the UK and also gave me confidence to keep trying different styles of beats. I had to learn a lot about business and being prepared for that type of moment. There are probably 10-20 legendary UK drill tracks that helped shape the scene, and Link Up was one of them—so it felt good to be a part of that.

VALIDATED: You later shifted back to working with American rappers, landing placements with artists like Lil Zay Osama, Yung Bleu, and Fivio Foreign. How did that transition back to the U.S. market unfold?

800 HERTZ: I figured it was time to transition back to American artists because, even though access is harder, it’s a bigger market. I felt like I was well-versed enough to make whatever style of beats I wanted, and they would be up to par with the competition. So, I figured it was time to jump in and go for it.

VALIDATED: Your production style has crossed multiple genres and regions, from UK drill to NY drill to mainstream hip-hop. How do you approach creating beats for different artists and sounds?

800 HERTZ: I listen to their music and get a feel for their style. I try to create with a blueprint of what they like to work with. If they’re a melodic rapper, I follow suit. If they’re a drill rapper, I use that style. I try to keep the blueprint the same, then add my own touches and trademarks.

VALIDATED: You’ve worked with both rising artists and established names. What’s the difference in the creative process when producing for a new artist versus a superstar?

800 HERTZ: A new artist is usually trying to find their sound, while a bigger artist has their lane and tends to stay in it. It’s good to be experimental with both, but it’s easier with a new artist. You’ll only have a bigger artist’s ear for so long, so you have to nail it on the first listen.

VALIDATED: You’ve worked with an impressive lineup of artists, including Lloyd Banks, Benny The Butcher, Redman, Method Man, Bun B, Ice-T, Cormega, Dave East, RJ Payne, and many more. But who are the top three artists still on your bucket list to collaborate with?

CARTUNE BEATZ: Top three is tough, lol—I definitely have a top four: Nas, Cole, Drake, and Kendrick. All of them are on my bucket list for sure.

VALIDATED: You’ve earned three Billboard plaques so far in your career. What do those milestones mean to you, and what’s the next big goal you’re aiming for?

800 HERTZ: Those are incredible milestones for me because there’s no guarantee or easy way to land on Billboard in any category or chart. It’s not easy, so you have to appreciate every win you get, no matter how big or small—because the next one isn’t promised. This is a large and competitive industry, so you have to champion yourself and celebrate every achievement. My next big goal is to have a breakout song or single that lands on the Billboard Hot 100. I’m always trying to top my last effort—that way, I always have something to work toward.

VALIDATED: How can our readers support you and your work? Are there specific platforms where they can stream your music, purchase your beats, or follow your journey? Also, do you have any upcoming projects, merch, or collaborations they should be on the lookout for?

CARTUNE BEATZ: My music is currently on all streaming platforms. I’ll also be putting all fully produced projects on my Bandcamp so people can support directly! Honestly, just be on the lookout for work with everyone I’ve mentioned in this interview—2025 will be a busy year!

800 HERTZ: You can follow my journey on Instagram and Twitter @800Hertz. I’m planning to be more active on social media since that’s become an important part of what we do. I should have more music dropping soon—hopefully before the year is over. I’ve been sending beats to artists as big as Swae Lee, but it’s a process waiting for songs to be released. I’m hopeful something comes to fruition in the next few months. I’m locked in and focused, so you’ll definitely be hearing more from me soon!