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Pluss

PLUSS (born Asheton Terrance O'Neil ) is an American and songwriter from , , best known for his collaborations with artists including , , , and . Born in , Hogan moved to Atlanta, where he met childhood friend Mike WiLL Made-It in high school, leading to his involvement with EarDrummer Records as a producer and later head of A&R. His early credits include co-production on Lil Wayne's "" (2013) featuring Drake and , which peaked at number nine on the Hot 100. Notable breakthroughs came with co-production on Rae Sremmurd's "" (2014) and "" (2015), both under Mike WiLL Made-It's EarDrummer imprint. PLUSS gained widespread acclaim for co-producing Beyoncé's "Formation" (2016) from her album Lemonade, where he contributed to the track's writing and beat alongside Mike WiLL Made-It, , and others; the song became a cultural anthem and earned multiple Grammy nominations. In 2017, he co-produced Kendrick Lamar's "HUMBLE." from the album DAMN., which topped the for three weeks and won three in 2018: Best Rap Performance, Best Rap Song, and Best Music Video. His production style often features trap-influenced beats and has earned him multi-platinum certifications across projects with artists like , , , and recent work on Dreamville's "Down Bad" (2025) featuring and .

Early life

Childhood in Atlanta

Asheton Hogan, professionally known as Pluss, was born in Canton, Ohio, and relocated to Atlanta, Georgia, during his childhood. Upon arriving in Atlanta, Hogan grew up immersed in the city's dynamic hip-hop culture, which served as a formative influence on his early worldview. Atlanta emerged as a cradle for trap music in the early 2000s, with pioneers like T.I. popularizing the subgenre through gritty narratives of street life and southern soundscapes, creating an environment rich with musical innovation. This cultural backdrop, centered in neighborhoods like Bankhead and East Atlanta Village, exposed young residents to a burgeoning scene that blended crunk, snap, and trap elements, shaping community identity and artistic aspirations. Hogan's education included attendance at a local high school, where he first connected with key figures in the local music community. During this period, he began exploring creative pursuits that would later evolve into his career.

Initial musical interests

Pluss, born Asheton in , developed his initial musical interests after moving to as a child, where the city's thriving scene sparked his curiosity in . By age 13, he began experimenting with creating beats, marking the start of his dedication to music making without any formal training. Largely self-taught, Pluss honed his skills through trial and error, using accessible tools like FruityLoops software prevalent in the early 2000s to craft his first tracks. This period of personal exploration allowed him to discover production as a passion, as he immersed himself in the local music environment, drawing inspiration from the innovative sounds of and R&B emerging from the region. During his teenage years, Pluss adopted the alias A+ for his early personal projects, reflecting his budding identity as a within Atlanta's vibrant . These initial efforts focused on beat-making as a , laying the groundwork for his later professional pursuits through consistent self-education via online resources and observation of the local scene.

Career

Industry entry and mentorship

Pluss transitioned into the professional in 2012, leveraging a longstanding friendship with Mike WiLL Made-It, reconnected after moving to as childhood friends, where the two shared early interests in beat-making and critiqued each other's early beats. Encouraged by Mike Will, Pluss began connecting more deeply within Atlanta's production circles, participating in his first informal studio sessions that focused on collaborative beat-making and skill refinement. These sessions, often held at local studios, allowed Pluss to experiment with trap-influenced sounds and build initial rapport with other aspiring producers, marking his gradual immersion into the competitive Atlanta scene. Through this encouragement, Pluss secured an association as an in-house producer at EarDrummers Records, Mike Will Made It's burgeoning production company and label imprint, which provided essential mentorship and infrastructure for his growth. EarDrummers, envisioned by Mike Will as a to foster talent, offered Pluss access to shared resources, artist networks, and guidance from established figures like Marz and P-Nazty, whom he credits with shaping his production techniques over the initial years. As a key early member, Pluss contributed to the collective's identity by creating the iconic "EarDrummers" —a vocal that became synonymous with Mike Will's beats and helped establish the label's sound in Atlanta's ecosystem. During this formative period, Pluss accumulated early portfolio pieces through minor credits and unreleased collaborations within the EarDrummers camp, including preliminary work with up-and-coming acts in Atlanta's scene around 2012. These efforts, often involving co-production on demo tracks and freestyle sessions, solidified his credibility among peers and paved the way for more structured opportunities at the label. The mentorship dynamic at EarDrummers emphasized collective innovation, enabling Pluss to transition from self-taught hobbyist to a recognized in-house talent.

Breakthrough productions

Pluss's breakthrough came in 2013 with his co-production on "Love Me" by Lil Wayne featuring Drake and Future, from the album I Am Not a Human Being II. Working alongside mentor Mike Will Made It at EarDrummers Records, Pluss contributed to the track's dark, bass-heavy sound, which became a commercial hit, peaking at No. 9 on the Billboard Hot 100 and earning platinum certification by the RIAA. That same year, Pluss co-produced another standout track on the album, "Bitches Love Me" (also known as "Good Kush and Alcohol"), again featuring Drake and Future, further solidifying his role in Lil Wayne's project and showcasing his ability to craft club-ready anthems with trap influences. The song's explicit themes and booming production helped it gain traction on urban radio, contributing to the album's overall success, which debuted at No. 2 on the Billboard 200. By 2014–2015, Pluss expanded within the EarDrummers camp, taking on key production duties for Rae Sremmurd's debut album SremmLife. He co-produced the lead single "No Flex Zone" with Mike Will Made It, a minimalist trap banger that introduced the duo's playful style and peaked at No. 36 on the Billboard Hot 100 while reaching No. 8 on Hot Rap Songs. Another highlight was "Come Get Her," where Pluss's sparse, seductive beat supported the track's infectious hook, propelling it to No. 56 on the Hot 100 and platinum status. These efforts helped SremmLife debut at No. 5 on the Billboard 200 with 49,000 units in its first week, marking Rae Sremmurd's arrival and Pluss's growing influence in hip-hop. The momentum from these 2013–2015 releases elevated Pluss's profile, opening doors to broader collaborations and positioning him for high-profile opportunities. As he reflected in a , the success of "Love Me" and early work honed his style, leading to Grammy nominations for later productions like Beyoncé's "Formation" (2017, for Song of the Year) and Kendrick Lamar's "HUMBLE." (, for Best Rap Song), where he earned credits as a co-producer and songwriter.

Ongoing collaborations

Since establishing a foundational position within Mike WiLL Made-It's EarDrummers collective, Pluss has maintained a long-term role as a core producer and A&R contributor, shaping projects for key label-associated artists including , , and through 2025. His involvement extends to executive feedback and beat selection, fostering a collaborative environment that refines tracks over extended periods, as demonstrated in the two-year development of Rae Sremmurd's (2018), where he produced "Anti-Social Smoker's Club" and "Up In My Cocina" while providing A&R input alongside Mike WiLL Made-It to enhance the duo's lyrical maturity and production polish. Pluss's productions for include the trap-infused "Good Form" (featuring ) on her album (2018), co-produced with Mike WiLL Made-It, which highlighted his ability to craft high-energy beats blending hip-hop aggression with commercial appeal. Similarly, his work with marked an early pivot toward R&B, co-producing "HiLo" (featuring ) on their debut The Kids Are Alright (2018) and contributing songwriting to "Catch Up" (featuring Mike WiLL Made-It and ) on (2020), emphasizing smooth, melodic structures that supported the duo's vocal harmonies and genre-blending style. These efforts underscore EarDrummers' influence on his output, where A&R duties—such as curating sessions and iterating on concepts—have amplified his production efficiency and artistic scope within the label's trap-rooted ecosystem. By the early 2020s, Pluss expanded beyond into R&B and pop territories, contributing to emerging and established acts through EarDrummers' network, including multiple tracks on K-pop artist Jennie's solo album (2025). He handled elements on "" (vibe and beat creation), "" (keyboard fusion of American R&B with ), and "F.T.S." (piano-driven with cinematic percussion), collaborating in and studios to merge 808 basslines with emotive pop arrangements during songwriting camps. This diversification reflects the label's evolving dynamics, where Pluss's A&R responsibilities—scouting innovative sounds and bridging genres—have driven output toward global crossovers, as seen in sessions with songwriters like to adapt EarDrummers' signature energy for broader audiences. Recent projects also include work with rising talents, such as on Dreamville's "Down Bad" (featuring , Bas, , , and ), reinforcing his role in nurturing label-adjacent emerging voices amid ongoing Future collaborations tied to EarDrummers' legacy.

Notable works

Productions for hip-hop artists

Pluss has made significant contributions to production, particularly in the subgenre, where his beats often feature heavy bass lines, intricate patterns, and atmospheric synths that underscore artists' lyrical delivery. His work bridges trap's energetic rhythms with elements of conscious rap, providing sonic backdrops that amplify themes of street life, , and bravado. Notable examples include co-productions on like Mike WiLL Made-It's Ransom 2 (2017) and Dreamville's (2019), highlighting his versatility in collaborative projects. One of Pluss's most acclaimed productions is "HUMBLE." for , released as the from the 2017 album DAMN.. Co-produced with Mike WiLL Made-It, the track's beat was crafted in a rapid late-night session lasting about 20-30 minutes, starting with a stark in D♯ Phrygian mode that pounds three staccato pitches to create an ominous, marching tension. This core melody is layered over booming kicks, crisp snares, and rolling hi-hats typical of percussion, with subtle variations every four bars—including brief drop-outs—to build dynamic intensity and mirror the song's call for humility amid bravado. The production samples the alarm-like synth from "Pulsar City Alarm" by Adams & Fleisner, adding a futuristic edge that complements Lamar's rapid-fire verses on fame and , positioning "HUMBLE." as a pivotal track blending conscious rap introspection with 's aggressive pulse on DAMN., an album that won Best Rap Album at the 60th . The song topped the for three weeks, achieved diamond certification from the RIAA, and won Best Rap Performance, Best Rap Song, and Best Music Video at the same Grammys, cementing its cultural impact as a defining anthem of the that influenced production trends toward minimalist yet hard-hitting beats. Pluss's earlier work with exemplifies his immersion in 's raw, drill-influenced sound. In 2012, he co-produced "No Tomorrow" on 's debut album , delivering a frenetic beat with relentless hi-hats, deep sub-bass, and sparse synth stabs that capture the chaotic energy of Chicago drill, contributing to the album's platinum success and role in popularizing the subgenre nationally. He continued this collaboration in 2014 on Mike WiLL Made-It's , co-producing "Stop-Start" featuring , , and , where elements like sliding 808s and ad-lib-friendly spaces propelled the track's street anthem status. These productions helped establish Pluss's reputation for beats that drive 's high-energy narratives of survival and excess. Pluss's early breakthroughs include co-productions on Rae Sremmurd's "" (2014) and "" (2015), both platinum-certified hits under the EarDrummer imprint that popularized Southern anthems. For Lil Wayne, Pluss provided production on "Love Me" from the 2013 album I Am Not a Human Being II, featuring and , with a moody beat anchored by echoing synths, pulsating 808s, and minimalistic drums that frame Wayne's hedonistic lyrics, peaking at No. 9 on the and earning platinum certification. Follow-up contributions include co-production on tracks like "Ransoming Me" from (2017) featuring , where rhythms with layered percussion emphasize Wayne's punchlines, maintaining his signature flow amid the album's collaborative trap-heavy sound. These efforts underscore Pluss's ability to craft versatile beats suited to veteran rappers' evolving styles. Pluss's productions for span trap's melodic evolution from 2012 to recent years. On Future's 2012 debut , he produced "Truth Gonna Hurt You," a brooding track with wavy synths and trap snares that highlight Future's auto-tuned vulnerability, setting an early tone for his Pluto-era sound. By 2017, he co-produced "Mink Flow" on with , blending 's signature slides and triplets with slime-season ad-libs for a playful yet gritty vibe that charted on 's . Beyond individual tracks, Pluss holds co-production credits on influential hip-hop albums that fuse with conscious rap. On (2017), his involvement in tracks like "Buy the World" with Future and "Gucci Gang (Remix)" featuring infused the project with 's booming low-end and rhythmic drive, peaking at No. 2 on the . Similarly, his work on Dreamville's (2019), including "Under the Sun" with , Lute, and , incorporates percussion with soulful samples to support conscious themes of ambition and struggle, propelling the album to No. 1 on the and double platinum status. These credits highlight Pluss's impact on hip-hop's wave while enabling deeper lyrical explorations in conscious rap contexts.

Contributions to pop and R&B

Pluss's on Beyoncé's "Formation," the from her 2016 visual album Lemonade, marked a significant crossover into pop and R&B territories, blending trap-influenced beats with empowering lyrical themes centered on and . As co-producer alongside Mike Will Made-It, Pluss contributed to the track's sonic foundation, incorporating booming bass, crisp hi-hats, and layered vocal samples that amplified Beyoncé's commanding delivery and the song's anthemic . The track's structure emphasized pop accessibility through its hook-driven format, while the underscored motifs like cultural resilience and Southern identity, helping "Formation" debut at number 10 on the and earn a Grammy nomination for Best . This work extended to album-level impact, as Pluss's contributions on Lemonade supported its nomination for at the 59th , highlighting his role in crafting R&B-infused pop narratives with broad mainstream appeal. Expanding his influence in R&B-leaning pop, Pluss collaborated with on "Good Form" from her 2018 album , where he co-produced the track with Mike Will Made-It, focusing on intricate vocal arrangements that showcased Minaj's rapid-fire flows and melodic ad-libs over a bouncy, synth-heavy . The production emphasized pop hooks through its catchy refrain and rhythmic layering, blending R&B sensuality with urban edge to create a radio-friendly hit that peaked at number 58 on the and earned platinum certification. Pluss's songwriting input helped shape the track's playful yet assertive themes, prioritizing vocal dynamics that transitioned seamlessly between verses and choruses, solidifying his ability to elevate female artists' voices in crossover contexts. Pluss further demonstrated his R&B production prowess through partnerships with Chloe x Halle, co-producing "Hi Lo" on their 2018 debut album The Kids Are Alright, which featured deep bass lines and racing hi-hats to complement the duo's harmonious vocals and themes of self-discovery. On their 2020 sophomore album Ungodly Hour, he co-produced "Catch Up" featuring Swae Lee and Mike Will Made-It, incorporating smooth R&B melodies with pop-infused hooks and layered harmonies that highlighted the sisters' vocal interplay. These efforts showcased Pluss's technique in crafting vocal arrangements that balanced intricate harmonies with accessible pop structures, contributing to the tracks' streaming success and the album's critical acclaim for its fresh take on contemporary R&B. In 2025, Pluss co-produced tracks on JENNIE's debut album Ruby, including "ZEN", blending trap elements with pop structures for the K-pop artist's solo project.)

Awards and nominations

Grammy achievements

Pluss received his first Grammy nominations at the in 2017, earning recognition for his production and songwriting contributions to 's "Formation." He shared nominations for and Song of the Year for "Formation," which addressed themes of Black empowerment and Southern identity, crediting him alongside Khalif Brown, Knowles, and Michael L. Williams II as songwriters and producers. In 2018, at the , Pluss achieved his sole Grammy win for Best Rap Song for "HUMBLE." from 's album DAMN., co-produced with Mike WiLL Made-It. The track, known for its minimalist piano riff and assertive lyrics, triumphed over competitors including Jay-Z's "The Story of O.J." and Cardi B's "," with songwriting credits to (K. Duckworth), Pluss (Asheton Hogan), and Mike WiLL Made-It (M. Williams II). Mike WiLL Made-It accepted the award on behalf of the during the pre-telecast ceremony on January 28, 2018, thanking Lamar and emphasizing the collaborative spirit behind the beat. Pluss also received a nomination that year for for "HUMBLE.". Overall, Pluss has garnered four Grammy nominations across these two ceremonies, with one win, marking his impact in and R&B production during the mid-2010s. As of 2025, he has received no further Grammy nominations or wins.

Other industry recognitions

In , Pluss co-produced and co-wrote Beyoncé's "Formation," which won Song of the Year at the , recognizing its songwriting excellence and cultural impact. Pluss received a nomination for Song of the Year at the 49th Annual in 2018 for his production and writing contributions to Lecrae's gospel-influenced track "Blessings," highlighting his versatility in blending R&B elements with inspirational themes. Throughout the late and into the , Pluss has been acknowledged in industry publications for his production influence, including a 2018 interview where he discussed his collaborative process on high-profile tracks like Kendrick Lamar's "HUMBLE." and the broader role he plays at EarDrummer Records.

Production approach

Key influences

Pluss's creative foundation was profoundly shaped by the trap scene, where he immersed himself after moving to the city as a kid and forming a close creative partnership with producer , whom he met in high school. This environment, characterized by booming basslines, hi-hat rolls, and street-oriented narratives, became central to his sound, drawing from the early Southern hip-hop movement that emphasized regional authenticity and innovation in beat construction. Among specific figures in the Atlanta trap ecosystem, Pluss has cited as a pivotal influence, not only for his tagline-driven productions but also for his ability to blend trap elements with mainstream appeal, as seen in collaborative tracks like Kendrick Lamar's "HUMBLE." The broader trap vanguard, including producers like known for piano-driven melodies and affiliations, further informed Pluss's approach to crafting infectious, sample-flipped beats rooted in Southern traditions. Beyond regional sounds, Pluss drew inspiration from Pharrell Williams's versatile production style, praising him in interviews as "one of the hardest to do it and he's still doing it," highlighting Pharrell's influence on fusing , , and pop in a timeless manner. This admiration extended to classic R&B producers whose emphasis on groove and emotional layering resonated with Pluss's work on projects like Beyoncé's "Formation," where met soulful undertones. In personal reflections, Pluss has recounted how his relocation to exposed him to local mixtape culture and radio stations like Hot 107.9, which played pivotal roles in popularizing trap artists and shaping his ear for high-energy, club-ready tracks during his formative years. By 2025, his influences had evolved to incorporate more eclectic elements, as evidenced in productions for JID's album God Does Like Ugly, where trap foundations merged with contemporary flows reflective of his matured perspective within the genre.

Techniques and philosophy

PLUSS primarily utilizes as his (DAW), a choice he adopted as a teenager after observing a friend using it, and has relied on it throughout his career for creating beats. In studio sessions, he complements this software with hardware such as a Razer laptop, UAD Arrow audio interface, and Yamaha HS8 studio monitors, evolving from early setups involving a basic beat machine, , and inexpensive microphone. This combination allows for efficient beat construction, often starting sessions without a specific artist in mind, focusing instead on crafting versatile productions that naturally attract collaborators. Central to PLUSS's is the fusion of trap's hard-hitting rhythms with emotional layers that enhance narrative depth, viewing production as a form of that elevates an artist's message. He emphasizes close collaboration with performers, adapting beats to align with their creative visions, such as refining tracks over extended periods to incorporate features or shifts that better suit the performer's style. This approach stems from influences like Mike WiLL Made-It, under whom PLUSS honed his collaborative ethos at EarDrummer Records. By prioritizing urgency and emotional resonance in his work, PLUSS ensures productions feel immediate and impactful, likening the process to "raising kids" where each beat must surpass the last in quality and intent. In his techniques, PLUSS employs drum programming as a foundational element, often initiating beats with a kick drum or synth line that can evolve unpredictably during creation. He practices selective layering to build complexity without redundancy, discarding any beat he doesn't fully embrace after 30 minutes to an hour of development, ensuring only concise, point-driven tracks remain. This adaptability is evident in his co-production on Kendrick Lamar's "HUMBLE.," where a minimalistic centered on stark drums and supported the track's raw intensity. Overall, PLUSS's methods underscore a disciplined that balances technical precision with artistic intuition, always serving the broader goal of compelling, story-driven music.

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