cyberstep

PHARAOH.
Creator of CYBERSTEP.

gyptxvn@gmail.com


Producer / Artist / Manager


Omnipresent producer and vocalist GYPTXVN is one of modern underground music’s most important figures. He’s worked with a seemingly endless list of artists, always ready and eager to supply a characteristically cybernetic beat or reservedly impassioned verse. 

It’s hard to overstate how interwoven GYPTXVN’s being is with the fabric of the online music scene; you never have to look far to find him. Whether it’s the massive bass on Big Nate’s “Chaos” or the rainbow chimes of Cowboy’s “WHITE T”, the impact of the producer is instant and undoubtable.
Naturally, GYPTXVN’s network of collaboration was not built overnight. His standing as one of the scene’s premier musicians is built from a love for sound and a keen eye for rising talent.

 By embedding himself in a variety of genres - be that Drill, Pluggnb, Trap, or more pop-centred aesthetics - he’s lifted any caps on his creativity. His music is made with precision, but nothing feels predetermined, as the artist’s endeavours are constantly ongoing and evolutionary by nature; a series of songs with Houston rapper TRA$H AND BA$H have garnered the pair over 200,000 streams, but this kind of clout has not stopped GYPTXVN from working with smaller artists. To GYPTXVN success is measured in terms of artistic vision, rather than numbers alone.


On 2020’s “Flight” GYPTXVN’s voice carries intense emotion, signifying his passion for the craft. A quotable line from the song, “If I catch flight I’m gone”, evidences his drive to move forward at speed, which is backed in the real world by his seemingly unstoppable workrate. His work is often in direct defiance of the systems that seek to restrain him; the latest of his many beat tapes “CYBERSTEP 3K30 2001” features an anxious and devious track called “11AM IN LONDON”, evoking the feeling of being watched, monitored, and recorded. Other works, such as a mythologically inspired series of tapes hosted by 108MICS, speak to a destiny beyond this realm. He believes he carries with him the energy of the Egyptian Pharaohs, a kingly life he seeks to make manifest through art. All of this represents a deeper need to escape and challenge a world at war with racism, social division, and unjust powers.


Artistically GYPTXVN is so multifaceted he may as well be four-dimensional. As the smooth-talking spacewalker Flexo Kobain he creates slick twists on RnB. As a rapper he’s thoughtful, considerate, and driven. As a producer he’s, well, everywhere. This amounts to an artist that simply cannot be ignored in today’s creative landscape.
Biography by Jamie Richards.

Indie, Acoustic & Psychedelic music from The Western Isles of Scotland.

Hidden away in the windswept landscapes of the Outer Hebrides, flakebelly shapes songs that wander between psychedelic indie rock, folk-jazz, and the quiet strangeness of the everyday. Acoustic warmth, blues-stained guitars, jazz-streaked piano, and dreamlike textures fold into each other, creating music that drifts between clarity and haze.

His track In Parks Of Tall Trees found its way to Tom Robinson’s BBC 6 Music Introducing Mixtape, a small ripple in what has become a steady tide of restless ideas. From first picking up a guitar in the late 90s and stumbling through those formative songs in the early 2000s - many of which later resurfaced on Apprentice Green - flakebelly’s path has been one of constant diversion and reinvention. The early singles collections - The Orkney Tapes (2022) and The Christmas Morning Outcome (2023) - were restless, experimental documents of sound-searching, sketchbooks where ideas were tested, broken apart, and pieced together again in the pursuit of a voice. Those experiments fed directly into the indie-folk EP Behaviours (2022), the rough-edged Lo Fidelity (2024), and the kaleidoscopic album Apprentice Green (2024), described by SNACK Magazine as “like being Alice in Wonderland, transported through a maze of moments in flakebelly’s imagination.”

Now comes The Boy In The Diving Bell - out now - a 17-track reckoning with past ghosts, unfinished business, and the fragments of memory that refuse to settle. It is a psych alt-folk soup of acoustic laments, fractured tape loops, and warped dreamscapes. Much of the sound was dragged through the teeth of a battered 1960s reel-to-reel, used not as a recorder but as an instrument - reels halted, jolted, rewound, coaxed into blurples, screeches, and ghostly echoes. Mistakes are left in, first takes are preferred, imperfections celebrated. The result is an antidote to the sterilised sheen of digital perfection and the creeping spread of AI-reproduced music: deliberately irregular, defiantly human.

The Boy In The Diving Bell is only the beginning - the first of three interconnected albums, the demos for which are already written. Yet even as that arc unfolds, flakebelly has begun detouring into a very different landscape: a new project built from vinyl samples, drum loops, and dirty guitars driven through vintage outboard gear, cassette recorders, and battered mixers. It is dark, abrasive, and deliberately uncomfortable - sound pushed to the point of collapse, distorted tape glued together with transformer saturation, live mixes through old delay units, dials twisted until frequencies scream. If The Diving Bell trilogy is haunted by memory, this parallel work dives into raw sound destruction and the strange beauty of degradation.

True to his solitary instincts, flakebelly writes, records, and produces everything from his home studio. The result is music that feels lived-in and handmade - always shifting, never fixed, and forever searching for new shapes in the sound.

All socials: @flakebelly //

"Extensive and wildly eclectic sonic adventures" - Tom Robinson, BBC 6 Music

"flakebelly is ultimately the sort of the artist we need more of – a genuine weirdo-auteur carving his own path purely for the love of the game." - Lewis Wade, Is This Music?

"Refreshingly individual and very likeable" - Neil March, Trust The Doc Media

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