POCATELLO, IDAHO — IceTre has spent years building his catalog around a philosophy that feels increasingly uncommon in an era of disposable singles: every project should have its own world.
Now, the Idaho musician is preparing to push that philosophy into potentially its most ambitious territory yet.
IceTre is currently prepping a new collaborative project with BNYX, the acclaimed producer whose futuristic, elastic production has helped shape records for Yeat, Drake, Travis Scott, Lil Uzi Vert and numerous other major artists. While details surrounding the IceTre and BNYX project—including its title, final track list, release date and exact creative direction—remain under wraps, the pairing represents an intriguing collision between two musical worlds.
For IceTre, it would continue a run of producer-driven collaborative projects that has already included 2024's Walking On Water with Los Angeles producer DoomBap and Paradise, his nine-song collaboration with Dracula Gang.
For BNYX, it would be another opportunity to apply a production language that has become one of the defining sounds of contemporary hip-hop.
And on paper, the combination makes considerable sense.
BNYX Has Become One of Hip-Hop's Most Distinctive Producers
Benjamin Saint Fort, professionally known as BNYX, has developed a résumé that places him firmly within the upper tier of his generation's producers.
A member of the Working on Dying production collective, BNYX's major breakthrough was closely connected to his work with Yeat. He produced multiple records on Yeat's 2022 Lyfë EP, including the Lil Uzi Vert-assisted "Flawlëss," before contributing extensively to AftërLyfe. The latter debuted at No. 4 on the Billboard 200 and helped further establish the producer's name.
But BNYX's production résumé quickly expanded far beyond one artist.
His credits include Drake's "Search & Rescue," "Slime You Out" featuring SZA, "IDGAF" featuring Yeat, "Rich Baby Daddy" featuring Sexyy Red and SZA, "Fear of Heights," "7969 Santa," "What Would Pluto Do," "All the Parties" featuring Chief Keef and "Away From Home." He also contributed to Travis Scott's UTOPIA, including "MELTDOWN," "K-POP" and "SIRENS," while his wider credits include Lil Uzi Vert, Quavo, Lil Tecca, Nicki Minaj, Kid Cudi and others.
The numbers surrounding those records illustrate the scale of his reach. Spotify's songwriter profile for BNYX lists hundreds of millions of streams for individual records including "Rich Baby Daddy," "IDGAF," "MELTDOWN," "Search & Rescue," "K-POP," "Slime You Out," "Flawlëss," "Talk" and "Out thë way."
BNYX's fingerprints can be heard across multiple variations of modern rap, but simply describing him as a "trap producer" doesn't quite capture what makes his work interesting.
His productions can be enormous without necessarily being crowded.
“There is often space. There is atmosphere.”
There are unusual synthesizer textures, distorted low frequencies, unexpected percussion choices and transitions that make a beat feel like it is changing shape underneath the artist. BNYX has demonstrated an ability to create aggressive music, melodic music, psychedelic music and records that blur the boundary between hip-hop and electronic production.
That versatility has become increasingly important to his identity. In 2026, BNYX expanded that identity further with his own debut album, GENESIS FM, while continuing to position himself not simply as someone making beats for rappers but as a producer capable of building complete sonic environments.
That distinction is important when considering IceTre.
Because IceTre's recent catalog has increasingly operated the same way.
IceTre's Collaborative Era
Rather than approaching every release as an isolated collection of songs, IceTre's recent work has placed considerable emphasis on collaboration with producers and collectives.
The result has been projects that function almost like separate chapters.
Walking On Water sounds different from Paradise.
And a BNYX collaboration has the opportunity to sound dramatically different from both.
That progression gives IceTre an interesting foundation heading into his next era.
The Idaho artist's recent releases demonstrate an increasing willingness to allow production itself to become part of a project's identity. Instead of simply finding beats and recording songs over them, the producer becomes another central character.
That was especially evident with DoomBap.
Walking On Water: IceTre and DoomBap Build Their Own Universe
Released in March 2024, Walking On Water represented a significant collaboration between IceTre and Los Angeles producer DoomBap.
The project had reportedly been developing for roughly two years before finally arriving. Contemporary coverage praised the chemistry between IceTre's writing and the project's production, particularly the mixture of boom-bap sensibilities and more atmospheric ideas.
The Bandcamp release credits production to Doom Bap and Dracula Gang and includes records such as "Midas," "Gotham Pt. 2," "GARGOYLE," "Garden Warriors," "Cruising All The Way To The Top" and "Petals."
The titles themselves communicate something about the project's aesthetic.
Midas.
Gargoyle.
Garden Warriors.
Petals.
Gotham.
There is an almost comic-book quality running through the vocabulary—wealth, mythology, darkness, nature, architecture and fantasy all existing inside the same universe.
That atmosphere separated Walking On Water from a conventional collection of rap songs.
DoomBap's production provided IceTre with an environment in which dense writing and imagery could become the focus. The beats frequently leaned toward a grittier hip-hop foundation, allowing IceTre's punchlines, internal rhymes and references to sit prominently within the mix.
Contemporary coverage specifically highlighted "Garden Warriors," "Gotham Pt. 2" and "Petals," praising the production and IceTre's use of punchlines, metaphors and similes.
That is an important chapter when looking toward BNYX.
Walking On Water demonstrated that IceTre could enter a producer's sonic territory without abandoning his own identity.
Instead, the producer changed the scenery surrounding him.
With DoomBap, that scenery was dusty, cinematic and sometimes menacing.
With Dracula Gang, IceTre went somewhere completely different.
Then Came Paradise
Shortly after Walking On Water, IceTre and Dracula Gang released Paradise on April 5, 2024.
Where Walking On Water leaned heavily into a producer-and-rapper dynamic rooted in hip-hop, Paradise widened the canvas.
The nine-song album consists of:
- Paradise
- Feel The Music
- Man Vs Machine
- All City
- Ice Man
- Midnight Club (Copy That)
- Dracula
- Jet Grind Radio
- Miami
It is a compact album—roughly 16 minutes—but that brevity works as part of its character.
Instead of stretching individual ideas into four- or five-minute compositions, Paradise moves rapidly.
A concept appears.
A beat establishes itself.
IceTre enters.
And before the listener becomes completely comfortable, the album moves into another environment.
The record also showed IceTre operating outside a strictly traditional rap framework. Existing biographical coverage describes Paradise as a genre-crossing project incorporating house, electronic dance music and garage-funk influences.
That experimentation matters.
"Feel The Music" immediately suggests the album's broader emphasis on rhythm and movement.
"Man Vs Machine" evokes the tension between human expression and technology—a theme that feels particularly appropriate for electronic production.
"Midnight Club (Copy That)" carries the imagery of late-night driving, glowing city streets and video-game culture.
"Jet Grind Radio" similarly evokes a hyper-stylized digital world.
Then there is "Dracula," a record that connects directly to the identity of Dracula Gang itself. Spotify lists the song as a collaboration between IceTre and Dracula Gang from the Paradise album.
Even the closing title, "Miami," feels deliberately visual.
Taken together, the track names make Paradise feel less like a traditional rap album and more like moving through different levels of the same game.
That experimentation creates a fascinating bridge toward BNYX.
Why IceTre × BNYX Makes Sense
There is a misconception that producer collaborations work best when the artist and producer already sound alike.
Often, the opposite is true.
The exciting collaborations are the ones where each participant possesses something the other doesn't.
IceTre's recent work suggests an artist comfortable moving between aesthetics. DoomBap provided one palette. Dracula Gang provided another.
BNYX could provide a third.
And it could be the most futuristic yet.
Consider the records that helped establish BNYX.
Yeat's "Flawlëss" operates within a synthetic universe where the production feels almost extraterrestrial.
Drake's "Search & Rescue" is sparse and hypnotic.
"Slime You Out" demonstrates BNYX's ability to operate within a slower, more melodic record.
"IDGAF" moves toward something darker and more mechanical.
Travis Scott's "MELTDOWN" operates on blockbuster scale.
"K-POP" demonstrates another side entirely, connecting rap production with a more international rhythmic approach.
And "Rich Baby Daddy" proves that BNYX can contribute to something considerably warmer and more immediately accessible.
That range is exactly what makes an entire IceTre and BNYX project interesting.
There isn't one obvious way for it to sound.
The Project Doesn't Have to Be Ten Versions of the Same Beat
If IceTre and BNYX fully embrace each other's versatility, the project could potentially travel through several different sonic environments while maintaining a consistent identity.
One record could be built around enormous synthesizers and distorted drums.
The next could be almost empty—bass, percussion, one strange melody and enough negative space for IceTre to dominate vocally.
Another could move toward the electronic experimentation heard on Paradise.
Another could incorporate the darker atmosphere of Walking On Water.
A melodic record wouldn't feel out of place either.
That is where BNYX's catalog becomes particularly relevant.
His greatest asset isn't necessarily one drum pattern or synthesizer preset.
It is adaptability.
Universal Music Canada's biography of the producer specifically highlights the breadth of his work, noting his movement between raw punk-rock textures, reggaeton and '80s-inspired R&B in addition to contemporary hip-hop.
That means IceTre wouldn't necessarily need to transform into someone else's idea of a "BNYX artist."
BNYX could instead build around IceTre.
That is potentially much more interesting.
From Pocatello to a Much Larger Production Landscape
There is also something compelling about the geography behind the collaboration.
IceTre's story remains tied to Pocatello, Idaho.
His Bandcamp profile identifies him with Pocatello, and Walking On Water itself carries that connection while pairing an Idaho rapper with Los Angeles-based DoomBap.
Idaho is rarely placed at the center of conversations about American hip-hop.
Atlanta has an established mythology.
New York has one.
Los Angeles has one.
Chicago has one.
Detroit has one.
Memphis has one.
Idaho doesn't arrive with the same pre-written musical narrative.
For an independent artist, that can be a disadvantage—but creatively, it can also be liberating.
IceTre doesn't necessarily have a regional rulebook he is expected to follow.
There isn't one universally accepted definition of what "Idaho rap" is supposed to sound like.
That allows an artist like IceTre to build his own definition.
A record can reference classic hip-hop.
The next can move into electronic music.
Another can be built alongside DoomBap.
Another can involve Dracula Gang.
And now another chapter can potentially be shaped alongside BNYX.
BNYX's Rise Makes the Collaboration Especially Significant
The timing also makes the pairing notable.
BNYX is no longer simply the promising producer who helped develop Yeat's sound.
He has become an artist and creative figure in his own right.
His production work with Drake was substantial enough that Drake reportedly asked him to remain involved while finishing For All the Dogs, turning what was initially a shorter stay into months of work. BNYX later described how observing Drake's approach to constructing songs influenced his own thinking about hooks, spacing and accessibility.
That evolution—from beatmaker to record architect—is particularly relevant to a collaborative project.
There is a difference between receiving a BNYX beat and making a project with BNYX.
The latter opens the possibility of records being developed from the ground up.
Song structures can change.
Hooks can be rebuilt.
Drums can disappear halfway through a verse.
A melody can become the foundation of another section.
Vocals can become part of the production.
A song that begins as straightforward rap can end somewhere completely different.
That kind of process could push IceTre into territory his catalog hasn't explored before.
Walking On Water Established the Bars. Paradise Established the Experimentation.
Look at IceTre's recent projects together and a larger trajectory begins to emerge.
Walking On Water emphasized writing, producer chemistry, imagery and traditional hip-hop fundamentals.
Paradise emphasized experimentation, movement, electronic textures and compact songwriting.
A BNYX project has the potential to combine those instincts.
That may ultimately be the most compelling direction.
IceTre doesn't have to choose between the rapper heard alongside DoomBap and the genre-hopping artist heard alongside Dracula Gang.
He can bring both.
Imagine the detailed writing associated with Walking On Water placed inside production with the scale and unpredictability associated with BNYX.
Imagine the electronic instincts of Paradise pushed further.
Imagine a song beginning with something almost ambient before collapsing into enormous drums.
Imagine IceTre rapping aggressively over a skeletal BNYX arrangement before the entire beat mutates for a second verse.
Or imagine the opposite: a surprisingly melodic record where neither artist does what listeners expect.
The possibilities are what make the collaboration compelling before the final project has even arrived.
Three Projects, Three Different Worlds
There is another pattern developing in IceTre's catalog.
IceTre × DoomBap — ***Walking On Water*****.**
A darker, bar-heavy producer collaboration.
IceTre × Dracula Gang — ***Paradise*****.**
A faster, electronic and genre-crossing experiment.
IceTre × BNYX — forthcoming.
The next evolution.
If the forthcoming project continues that pattern, IceTre's discography will increasingly resemble a series of partnerships in which different producers reveal different versions of the same artist.
That's a powerful model.
Hip-hop history contains countless examples of artists producing some of their strongest work when a single producer—or tightly connected production team—is allowed to shape an entire recording period.
Consistency doesn't have to mean repetition.
It can mean that every song belongs to the same universe.
Walking On Water demonstrated that philosophy.
Paradise expanded it.
The BNYX collaboration could take it considerably further.
The Pressure Will Be Higher
Of course, working with a producer of BNYX's stature also creates expectations.
Listeners know the résumé.
They know "IDGAF."
They know "MELTDOWN."
They know "Search & Rescue."
They know "Slime You Out."
They know "Rich Baby Daddy."
They know "Flawlëss."
They know the Yeat records.
They know the Drake records.
They know the Travis Scott records.
Those songs have accumulated hundreds of millions of streams, and BNYX's catalog now carries an instantly recognizable level of expectation.
But attempting to recreate those records would probably be the least interesting direction for IceTre.
The opportunity is not to make "IceTre's version of a Yeat song."
It's to discover what an IceTre and BNYX song actually sounds like.
There is a difference.
And if both artists treat the collaboration as its own universe, that difference could become the entire reason the project works.
IceTre's Next Chapter
For IceTre, the forthcoming collaboration feels like a logical continuation rather than a sudden detour.
Walking On Water showed the chemistry that can develop when he commits to a producer-driven project.
Paradise showed that he isn't afraid to move beyond conventional hip-hop production.
BNYX represents a producer capable of satisfying both impulses.
He can make something that knocks.
He can make something strange.
He can make something spacious.
He can make something melodic.
He can make something futuristic.
Most importantly, his catalog suggests he understands how to shape production around the personality of the artist standing in front of the microphone.
That leaves IceTre with an unusually large canvas.
The unanswered questions are now the interesting ones.
Will the project lean toward the darker energy of Walking On Water?
Will IceTre continue the electronic experimentation of Paradise?
Will BNYX introduce an entirely new sound?
Will the songs be short and explosive, or will the collaboration produce bigger, evolving compositions?
Could Dracula Gang become involved somewhere in the process?
Could DoomBap's influence remain audible even as IceTre moves into another production world?
For now, those answers remain ahead.
But IceTre's recent catalog provides a clear starting point.
He walked on water with DoomBap.
He entered Paradise with Dracula Gang.
Now, alongside BNYX, the Idaho musician appears ready to find out what comes next.
And considering BNYX's history of transforming unusual sounds into some of contemporary hip-hop's biggest records, "next" could be somewhere IceTre hasn't gone before.