Pvlace808 is a young German producer who is known for being a European member of the American production team 808 Mafia. This type of accomplishment is as rare as it is indicative of the growing relevance of extra-American musicianship. Pvlace is in a privileged space in being one of the case studies of outsiders being accepted into the heart of the American hip-hop empire, in the vein of European trailblazers such as Sadboys and Drain Gang.
Now, even if it’s it’s true that Pvlace has seemed to accomplish similar things to the groups mentioned, it is also true that he occupies a different lane artistically, which may even make his accomplishment more noteworthy. To use the same examples, Sad Boys came out the gate as geographic outsiders as well as stylistic outsiders. The reason for their acceptance into the hip-hop landscape was because of an interest that was present in the novelty of their aesthetic. Pvlace on the other hand, while being multitalented in being a musician, engages in styles that are not quite as “out there” as our examples. It could be said that his production style is much more in line with trap tropes and trends that have been proven to be commercially viable. That surely confirms that there is a dis-analogy between the two methods of assimilation, but does it also not make it more impressive for Pvlace to have been chosen by 808? Is it not a more peculiar thing to occur that someone European cohering with widespread sounds gets picked up by arguably THE biggest American production outlet? We leave that for the public to ponder, but we think a key to answering that question is actually understanding what constitutes Pvlace’s sound. Pvlace’s unique fusion of textured and at times vintage sounding samples, mixed with many live instrument elements as well as digital ones, undeniably makes him one of the producers with the most mastery over the board.
Especially given the current state of American hip-hop, with how varied the sonic landscapes are, it becomes immediately clear why a producer with such mastery of many flavours and control of sound quality, would be appealing to that market. The verification of this theory is detectable in Pvlace’s production credits. The proof is in the pudding. Appearing on such huge releases intercontinentally, such as Future’s “The Wizard” and Young Thug’s “So Much Fun”, and continentally, such as superstar Ufo361’s “Tanz der Vampire”, only confirms that the German’s sonic reach caters perfectly to multiple markets. This, already showcasing Pvlace 808’s ability, also shows exactly why he has attained the aforementioned privilege of working alongside giants like Southside and TM88. Many producers now look onto the formerly local producer’s career as a template for the highest ambition a European artist can wish for commercially: Being at least recognised and even integrated into the US-market that most likely ignited their passion to begin with. We feel like that inspiring creatives in that matter warrants praise for Pvlace