Like his 18th-century namesake, Zaytoven was born in Germany-Frankfurt, specifically, where his father was stationed in the Army. Like, Gucci, he couldn't stay on beat some of the words, you don't really know what he talking about. I get it-I understand why the kids like them so much. They're adding their own little flavor to it, but it stems from the same thing. "But I think the reason why I'm I'm still tied into what's going on is: all these new guys come from the music me and Gucci created way back then. "It's a trip to see that the music we created back then is still dominant," he muses later in a photo studio overlooking the Magic City strip club, where the walls are covered in glossy Peewee Longway photos and a stately oil painting of 21 Savage in the style of Our Lady of Sorrows. It's modern museum music, the kind of baroque fare you expect to hear echoing off white marble while gazing up at Caravaggios. You listen to something like Beast Mode, and it's almost like looking at a pretty painting." He laughs a little, but I know exactly what he means. "When I work with Future, it's almost like a work of art.
"That's what it is! That type of music," he agrees. Icy and elegant, it is a record I like listening to in winter most of all. But it was Beast Mode that re-stoked the flames of the Future Hive's goodwill: a set of nine soulful explorations of heartache and memory, driven by Zaytoven's signature piano mastery.
(Spoiler alert: it rules.) Fans usually consider Future's second wind to have kicked off with Monster, the 2014 tape that said "yes" to drugs and established the Dungeon Family heir as trap's Townes Van Zandt. It has suddenly become the best day of my life, here in the basement of arguably the most important producer in 21st-century Atlanta rap, listening to the long-awaited follow-up to his and Future's beloved full-length collaboration.
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