Producer DY Krazy Elevates His Sound With Beats for Juice Wrld, Lil Baby and More

Production Credit
Interview: Kemet High
Editor’s Note: This story originally appeared in the Spring 2021 issue of XXL Magazine, on stands now.

With a production style that blends trap, gospel, R&B and Chicago juke music, DY Krazy, 26, has helped shock the pulse into songs like Lil Baby and EST Gee’s “Real As It Gets,” Juice Wrld’s “Titanic” and Lil Uzi Vert’s “Lullaby.” Here, Krazy speaks about his growing track record in the 808 Mafia super team.

XXL: What did you think about Lil Baby and EST Gee’s performance on “Real As It Gets”?

DY Krazy: I fuck with it. Lil Baby is one of the main artists I work with. I knew he was going to do his part on the beat because I imagined him on that. And then EST Gee…when I heard his verse I was like, “Damn, he really showed out on that muthafucka.” He ain’t get carried. He came with it.

How would you describe the feeling of working with an artist as they’re popping off and leveling up?

Yeah, that’s all I’ve ever done, though, forever. Me and Southside and TM88 and 808 Mafia. We work with the breaking artists that are really breaking. We’re the ones who let everybody in the industry know that these people are talented. The people who we believe in always end up being the biggest artists in the game. And we see it before anybody sees it.

What do you consider to be your top five beats?

I have to say “Never Gon Lose” because that’s the first beat I’ve ever made for Future. That was a big inspiration and big dream for me and then it happened. I can say “Home Body” is one of them songs. [Lil] Durk wasn’t like the hottest artist in the game when he dropped this. He was just working hard, building his craft and discovering his sound. And that song was one of the things that built his sound. “Wake Up in the Sky,” for sure. For Bruno Mars to get on my different-sounding beat was just big. “Drive Itself,” it was on the Superfly movie soundtrack. Hearing my beats on a movie is big. And then, my last one would be “BP / No Judgement” with Chris Brown. It shows my other side of my production. I don’t just make rap beats.

How did you end up with “Titanic” and “Can’t Die” on Juice Wrld’s first posthumous album, Legends Never Die?

I ain’t never seen nobody like Juice Wrld. That man was the best artist ever in life. The way I started working with him was because he comes from up under our envelope with G Herbo. Juice Wrld was another person who recognized that DY doesn’t only have trap beats. DY has a different sound. He recognized that, too.

Check out more from XXL’s Spring 2021 issue including Cardi B's cover story, how rappers are legally making money from the cannabis boom and the social justice that comes with it, Snowfall's Damson Idris on how hip-hop impacted his life, A$AP Ferg reflects on the making of his Always Strive and Prosper album, Shelley F.K.A. DRAM talks about his comeback, Trippie Redd speaks on how Playboi Carti and Lil Uzi Vert helped change hip-hop, Waka Flocka Flame checks in with us and gives an update on his Flockaveli 2 album in What's Happenin', Show & Prove interviews with 42 Dugg, Blxst, Lakeyah and Rubi Rose, Erica Banks discusses the making of hit song "Buss It," the Internet Money takeover with producers Taz Taylor and Nick Mira, the artists that are up next on rapper-run record labels and more.