Key Takeaways
- Vancouver-born producer London Cyr went from learning Logic in middle school and grinding in Vancouver and Toronto studios to becoming one of Drake’s key collaborators, landing seven credits on the blockbuster album Iceman after previously placing beats with Travis Scott, NAV, Lil Baby, Don Toliver, and more.
- Cyr says Drake personally flew him out in 2024, praised his “cinematic” sound that reminded him of The Dark Knight, and has since involved him deeply in a meticulous, Frankenstein-style creative process that includes heavy beat-switch experimentation on songs like “National Treasures,” “B’s On The Table,” and “Whisper My Name.”
- He highlights Drake’s humility and relentless work ethic and says his next big goal is to play a similarly central role in crafting a full Don Toliver album, the way he did on Iceman.
"I really want to work with Drake one day," producer London Cyr—who at the time had already landed placements with A-listers like Travis Scott and Lil Baby—told Complex back in 2021.
Five years later, that dream has become a reality.
The Vancouver-born producer placed seven production credits on Drake's blockbuster album Iceman, helping craft standout records like "National Treasures," "Plot Twist," and "Burning Bridges."
The moment signifies a new high point for the producer's journey with music, which started when he was a young child mourning the death of his father; he became obsessed with artists like Chris Brown, 50 Cent, Eminem, and Kanye West.
"I was like, 'These people are telling their stories and releasing their energy through this music. How are they doing this?' I'm listening to the music behind it, like the beat. I'm like, 'Did they make that too?'" he told Complex.
He eventually asked a middle-school friend about how to use the production software, Logic. The two spent an entire night recording guitars, programming drums, and even making a punk album together. "That was the beginning of my music path," he said. "After that day, I was just addicted to it."
He spent the rest of his teenage years making beats and working with local rappers around Vancouver. His grades weren't good enough for college, and though he doubted music was a realistic career, his mother encouraged him to take the leap. "My mom really instilled that battery in my back," he says.
London worked at a retirement home during the day and spent the night making beats. Once he had saved enough money, he packed up and moved to Toronto—Canada's music capital, thanks largely to the success of Drake. There, he found work as a recording engineer, locking in with artists like 88GLAM, Pressa, YG, Smoke Dawg, and more.
While producing in those studios, producer WondaGurl overheard one of his beats. She invited him into the studio herself. Their first session together, they made what would become Travis Scott's "CAN'T SAY"—London’s first ever major beat-placement.
From there, his résumé quickly expanded with credits for NAV, SoFaygo, Sheck Wes, Lil Baby, and Don Toliver before eventually catching Drake's attention.
After contributing to $ome $exy $ongs 4 U and Drake's 100 GIGS EP, he was brought in to help shape the sound of Iceman.
We sat down with the producer and how he ended up working with Drake, how the album came together, and more.
This interview was edited for clarity
How did you initially connect with Drake?
[A friend] had a close relationship with Drake for a long time and worked for the team in a few different capacities. I basically just asked him, “Yo, is it a crazy ask to show my beats to this guy?” ‘Cause I thought that we could do something special. I genuinely believed in it. And back then in the [2021 Complex] interview I thought that working with him was impossible.
[My friend] showed him my beats [then] Drake actually reached out to me and personally brought me out to Toronto on July 1, 2024, I believe. The rest is what you guys see on Apple Music and Spotify—12 songs [with Drake] in two years.
What was your first conversation with Drake about?
[Drake] was basically like, “Yo, your beats remind me of one of my favorite movies, The Dark Knight.”
Batman has always been a big inspiration to me from when I was a kid. I really was influenced by even the cartoons, the aesthetic, the music in it. Batman's always had insane music.
I don't even think he knows that was one of the biggest compliments I could ever even receive in music. Obviously my music isn't like Hans Zimmer, but it's the way my beats and my production made him feel and can make people feel that it is reminiscent to the vibe of Batman, I guess. It is the best compliment, because I feel like I channel that energy to my shit.
What was the one thing that surprised you the most when you started locking in with Drake?
The communication, the humility, the respect. I believe he's in the position he is in today because he's immensely talented. He’s one of the best rappers and songwriters to ever do it without a question. But on top of that through all the highs he's experienced in his career being at the top, out of all the artists I work with, he’s the most blessed guy, the most humble, the most respectful.
He will be like “Yo, you inspire me.” He’s not even trying to watch me make beats in the studio, he’s like “Yo, I'm gonna give you your space. You tell me when you're ready. Just give me beats when you're ready, and I'm gonna be ready.”
I remember one thing that stood out when I met him, I was just blown away when I first met him in 2024, and I was like, bro, “I'm so thankful like this is crazy. I can't believe I have these three songs [for 100 GIGS] with you like off rip. This is crazy.” He looked at me and he's like “Bro, we're gonna make a 100 more. Don't worry.”
Sometimes artists just say that, but he followed through on his word and and he showed me how much he fucks with my production.
Can you tell me more about the creative process in the studio when Drake is developing songs and what's your role in that process?
Drake likes to Frankenstein his music and he's a producer himself. He's a genius; people underestimate his ear and what he's capable of putting together, but all of the beat switches all of the early versions of the song that's just Drake testing the waters and then and then being like, “Oh, this beat-switch doesn't work here. Maybe it's gonna work on this song”.
For example, “B’s On The Table” with 21 Savage. On the second verse of that song there's like those triumphant horns that come in. Basically, those horns are from a beat that I had made with a producer that goes by the name of Rogét Chahayed. He's an incredibly talented producer. He did the chords on “Sicko Mode.”
Drake had asked us “I love this beat so much and I love the chords. Can we take the chords from this song? From this original beat and put it on ‘B’s On The Table’ for the second verse.” That's a perfect example I can put out there [of how he] operates musically.
Someone once told me a quote one time: “A song is never done until it's released” [Drake] will go through so many different versions of the song until he's happy, you know.
How did “National Treasures” come together?
“National Treasures” is a song that he showed me around the first time that I met him. As soon as he played it for me I was blown away. The rapping was insane, so he was just like “Yo, I want you to take this to the next level.” So I did my tweaks and things, added some synths. There were a bunch of different beat switches that we tried—like maybe three or four different types of beat switches.
B4U, who is the producer over all three albums, had started that beat-switch idea and then he had got me to do drums on the second half. So it all kind of just came together over time and there were so many different versions of that song, specifically the switch.
How does Drake pick beats? What is he listening for?
He listens to beats really fast. I kind of feel it too when people send me loops or beats or something, I know within the first 10 seconds if I get that feeling in my chest.
I think he has that same type of process, and it also depends on how he's feeling. Maybe he wants to make a “Gen 5” or a “Little Birdie”—like a Florida song that's inspiring him.
Why do you think Drake tapped in with you as a producer?
Drake loves the ‘cinematic-ness’ and the aesthetic of my beats.
My drums, my 808s, and my ear for music is what stands out to him for Iceman. There's a lot of people who make hard-hitting trap beats but what makes mine stand out is the level of digestibility and the musicality.
How would you describe the sound of Iceman?
Bruce Wayne in a Chrome Hearts Maybach. That’s all I have to say.
In 10 years what moment from this time period will you still be talking about?
Humility and work ethic because [Drake] goes the extra length for the people that he believes in and that he wants to be a part of his thing. His work ethic is also unmatched.
In summer 2025 I went on a couple of dates $$$4U tour, I'm locked in making beats the whole time, going to the shows, getting a little lit after, and I'm exhausted. I'm like, “I don't even know if I can go to the next show.”
This guy is doing six shows back-to-back in Italy. No, stop. Time difference, making music in the hotel and backstage. That, to me, is something I would tell my kids.
What Iceman song had the most versions?
“Whisper My Name” for sure… I can't tell you exactly, but a lot.
How did “What Did I Miss?” come together?
FNZ found that horn sample from some old Christian album; just this one section had these crazy grandiose horns.
My dream even before working with Drake was making a song like “Trophies” or “We Made It,” you know a very grandiose horn based beat because I feel like he also hadn't done [a song like] that in a minute. As soon as I heard that I was like, “This is exactly what I was looking for.”
You said you wanted to work with Drake in your last Complex interview and it happened, so who do you want to work with next?
One of my main goals now is to do the bulk of an album for Don Toliver. Obviously, I've worked with him. I was a big part of the beginning of his liftoff with “CAN’T SAY” and “What To Do”... [but] I want to do an album where I'm doing a lot with Don Toliver. The way I have my hands in Iceman I want to have my hands in a Don Toliver album.
