Seventhirtyatmorning.
via the artist
Seventhirtyatmorning had already been rapping on BandLab for a year and a half when he discovered producer luvxomea on YouTube. “I just don’t understand how someone can make those sounds,” the Minneapolis rapper says. The pair are tightly bound now, but Seventhirty (Thurt to his friends) remembers it was tough going to convince the Moscow-based beatmaker to lock in with him.
“I would keep messaging him, because he would charge on some of the beats but not all the beats,” Seventhirtyatmorning says at The FADER offices in July. “Then one day I had to just break it down to him like, bro you got to trust me, because I trust you.”
Seventhirtyatmorning’s bars are more melodic than lyrical, which could give listeners the incorrect impression that he’s just a vibe-merchant being carried by his beats. But listen a little more closely and his woozy flows can be surprisingly emotive, an expansive thematic terrain over the lushest post-plugg instrumentals around.
After gaining viral traction in March 2025 with the capybara-starring video for “time is now,” Seventhirtyatmorning started to amass a minor cult following, but his new album Antione’s Son is poised to catapult him to fame beyond the SoundCloud set. That’s thanks in part to features from ØWay rappers Tezzus and Southsidesilhouette (“foolish”) and close friend kels! (“feelin good”), plus production by FearDorian and Miami, manager Texaco, and of course, luvxomea, whose YouTube channel now lists plenty of Seventhirtyatmorning Type Beats for sale.
The FADER caught up with Seventhirtyatmorning to chat about his start making music, finding his sound, and the creative process behind his albums One Man Band and Antione’s Son.
The FADER: When did you first start making music?
Seventhirtyatmorning: Literally, March 2022. I was on campus at the University of Minnesota and my homie made music. I didn't necessarily listen to his music, but I like music, and he was telling me that I should just try it. I rapped on the “Glory Boy” instrumental by LUCKI, and it was so ass. It was no Auto-Tune or nothing.
Then I found out about BandLab, and that's when I started doing the shit by myself. Just recording every single day and literally practicing because that's the only way you can get better. You have to put up all them shots to know how to shoot. People was already telling me I looked like a rapper because of my blonde hair, and how I dress. I was really into fashion back then, so people were asking me if I rap. It was my gap year, [from] literally quitting basketball freshman year of college to making music. That's when I dyed my hair and started listening to a lot of Toro Y Moi and a lot of indie shit back then. It just started making me try new things, especially during COVID.
Were you freestyling over other artists’ songs?
I was really looking up type beats of the people I would listen to. I ended up finding this one producer named luvxomea, who’s my main producer. He stay in Moscow, and under the type beats I was searching up, I'd find his shit. I would keep messaging him for beats. He still drop type beats, but they say Seventhirtyatmorning type beats now.
I can't ever switch on him because honestly, his beats is the reason I make music. That shit is just so… I don't know how to explain it. It's like a drug. I'm literally addicted to the beats that he makes, bro. I have to love a beat enough for it to just play and me just be like, yeah, that shit is just amazing. That could be a song in itself. And that's how I see his beats. His beats are like songs already, and then I'm adding my song to his song. And I just think that's beautiful.
You've got a really strong video aesthetic. How did you curate that vision?
I realized early on that I need to edit my own video, because people would send me videos back that I didn't like the first round. And then it'd be like, second round, didn't like it. And I started feeling bad because they putting time and effort into it and I'm not liking what they doing. And sometimes I'm paying them too, so it's like, “damn, I'm mad that I'm paying for something I don't like.”
I honestly learned how to edit videos before I started rapping. But then I started rapping and I realized all I need is a camera, someone to colorgrade it, and that's it. And I'm gonna make every scene what I want to be seen. And that's where my creative vision comes from: it's really just what I want to see.
Talk to me about One Man Band. When did you start recording for the album?
The oldest song I have on there is “40MGs;” I made that in September of [2025]. When I came back out here with my manager slash producer slash engineer slash everything, Texaco, we came back out here and did all the transitions and the mastering. The songs were done three or maybe even four months ago when I was in L.A. I was just frustrated with myself because I wanted to make sure the execution was right.
And I had some real life shit going on. Life really get in the way, and people forget that artists are people too. So that’s why shit be taking time, but it’s the longest that I’ve gone without dropping a project, longest I’ve worked on a project. And I really think it shows – it’s one of them, in my opinion, and I have people who I trust agree with me, and what we say goes.
When you think about your upcoming project Antione’s Son compared to your older stuff, where do you feel like you've grown the most as an artist?
Expressing myself more in detail. I'm a pretty blatant person, so I feel like when I first started rapping, my bars were real straightforward. I'm starting to get good with metaphors and honestly expressing myself instead of just making a freestyle. Actually making sure I'm delivering a message, because I'm realizing the impact that I have on people who listen to my music, and I want to be a good impact.
