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The Sound That Made You Say "Damn": Meet Manny Laurenko
BY: HANNAH SIMON
Published: 8.18.25
Read time: 6-10min
E
veryone hears the music—but not everyone knows the hands that built it. Aux cords and origins is CGR's interview series dedicated to the new and seasoned producers, engineers, and sonic architects behind the tracks we live by. These are the quiet visionaries, the deep listeners, the ones
who turn feeling into frequency. In each installment, we sit down with a rising or established force to trace their journey, unpack their process, and understand how they build worlds - one beat at a time.
Music. We all know it, we all love it. It’s woven into every part of our lives. But like many, we’ve often wondered, how do you get started and actually break into music? How do you get your sound heard? Where do you find your creativity? We see the acts, the glitz, the spotlight. But when the stage comes down, the lights go out, and the crowd clears - who’s behind the sound? Rarely do we get a peek into the process and the how behind those who lay the foundation for the music that moves us.
That part often stays a mystery.
We sat down with one of Philadelphia’s finest rising producers, Manny Laurenko, to pull back the curtain. From making beats on desks to earning production credits on projects with PNBRock, A$AP Ferg, and Kanye West, Manny’s journey is as raw as it is inspiring. This is how he found his sound, maintains his creativity and started building a legacy of his own.
We met with Manny on a gray, rain-soaked spring afternoon, the kind of day that might’ve prompted a reschedule. But he arrived, unbothered by the weather, carrying a quiet confidence and a calm presence. There was no need for small talk. He took his seat, ready to share his story, and we were ready to dig in.
Featured: Manny L. in Promotional Photoshoot
So, how did you get your start in music?
M: I fell in love with music as a kid, just growing up around it. My older siblings played a big role in that - I’m the youngest, so I was always listening to whatever they had on. It wasn’t music I would’ve chosen myself at the time, but I developed a real appreciation for it. “Eventually, that led me to start finding music on my own and exploring genres that felt more like me. What really hooked me were the gimmicks a lot of artists had back then, it reminded me of wrestling. The characters, the stories, the visuals, it all felt bigger than life and pulled me in completely.
Who were some of the artists you fell in love with via your siblings?
M: Lil Wayne, DMX & rough riders, Luda Chris, Chingy and other down south artists; CC Waynans, Kirk Franklin, Micheal Jackson, Whitney Houston - I love Whitney Houston. Shout out to my mom, she shaped a lot of my music choices too.
Southern rap and Ruff Ryders and Whitney Houston - they all bring such distinct energies how have they influenced your sound? What specific elements did you take from each that still show up in how you create music today?
M: It was the unorthodox style - on both ends. Like wrestling, each artist had their own character, their own vibe, and that made them stand out. I was drawn to the flows and all the little sound effects you could catch tucked into the beats. It was those moments in a song that make you stop and say, ‘Damn, that was crazy’ — the details that make you fall in love with it.
Manny L. and his Mother (Marilyn) 1998
What was your first time in the studio like?
M: I was a kid, so I wasn’t really interested until high school. I always used to make beats, but it started out as me just drumming on desks before I actually learned how to make music. My first real beat was definitely in high school, but knowing me, I probably didn’t like it because it felt hard. Back then it was mostly me just playing around with my friends, rapping and not taking it too seriously. That didn’t really shift until college. I ended up dropping out—I was studying forensic science—and that’s when I started leaning into music full-time.
Once you officially started making music - what was your first big track?
M: Spaceboy, for sure. Before that, me and my boy Tsan dropped an EP called Farewell, and that really built a lot of momentum for me. I always knew I could do this—I just wasn’t sure how far I wanted to take it.
Did music start off as more of a hobby that transformed into a career? Or was that always your goal?
M: Once I knew I wanted to do music in college, it stopped being just a hobby—but it also wasn’t like, “okay, I need to be the best at this.” It felt more like playing a video game to me. I wanted to get good at it and do well, and that’s what made it fun. To this day, I still see it the same way—I do music for fun, not for the money. It’s never been about that. Honestly, I’ve spent way more investing in my music than I’ve ever made from it. In the beginning, I had to buy software, hardware, plugins—everything just to make beats. I even took piano classes in 2023 so I could understand music better. It was boring, but now I can read music, and that was the whole reason I pushed through it.
I don't think I needed though...I don't believe in music theory or that a certain key makes a hit. All the music I make is in C major. I guess it's my accidental signature.
Featured: Manny L. and Friend
When learning how to produce, did anyone teach you?
M: Nah, I’m a self-taught producer. I don’t believe there’s a right or wrong way to make music—everyone has their own thing that works for them. With synthesizers, I got good because I was messing up, playing them the way they weren’t “supposed” to be played, but sonically it stood out. I like throwing weird sounds and instruments together, colliding them all in one—and that’s not something you can really be taught.
Your full body projects, is there usually a collective story your building or is each song within it's own universe?
M: Each song definitely lives in it's own universe, but like with my last project I wanted all the listeners to leave with something. So that was the larger theme, like with each song what are they getting out of this? Each track was different but the point of all of it was for listeners to leave with something tangible overall and that was the story.
What has been the most difficult part of your journey?
M: I'm independent, so I have a lot of freedom—and honestly, fewer problems because of that. The only issue I run into sometimes is getting music cleared by a label or an artist. But if something doesn’t work out, I just pivot. I have to keep going regardless.
Are there any negatives being an independent artist?
M: Yeah, when you don’t have a machine behind you, you’ve got to work twenty times harder and be your own machine. But I don’t really see that as an issue, because I enjoy the freedom and I feel like it builds character. So before I even get to that level, I already know how to navigate and network for myself—I’ll never have to rely on a machine to make things happen.
Featured: Manny L. in Promotional Photoshoot
What do you do to push yourself without having a team behind you?
M: I remind myself there are millions of people with hidden talent who are still undiscovered—but you have to move at your own pace. I don’t wake up and make music every day, and I don’t force it. I make it when I feel good, but it’s still my life. I keep it realistic: I’m not in the studio every single day, but I apply myself the best way I can to my own life. And I know it takes a lot to get here—a lot of sacrifice—and that’s what pushes me to keep going.
What are one or two tips you'd give to an aspiring producer or artist to help them along in their journey?
M: To reach true growth and potential, you have to aspire to be a better person—a better individual—so that anything you touch or come across benefits from that. Second, I’d say have faith and believe in yourself and your vision…well, first find the vision, then commit to it. You can’t take someone else’s vision and try to apply it directly to your own path.
In the midst of all this, how do you stay encouraged and keep your head up?
M: I pray—I always pray. I pray daily. There are a lot of days when I’m down, but I remind myself: I really became who I wanted to be. I’m a producer. I have to keep going. You’re always just one step away from where you want to be. And I know I want to build more. Music is my entry point into so many other things—I want to build businesses, I love architecture, I want to build homes. Knowing there’s so much more ahead of me, so much more to look forward to—that’s what keeps me going.
Manny Laurenko’s story is still unfolding, but what’s clear is his foundation: resilience, faith, and a love for creating sound that hits deeper than the surface. From drumming on desks to shaping tracks for some of hip-hop’s biggest names, he’s proof that raw talent paired with persistence can carve its own lane. Independence hasn’t just given him freedom—it’s given him character, vision, and a blueprint that goes beyond music.
The beats are only the starting point for Manny. Here’s the wisdom he leaves behind for every creative chasing their own vision:
The Sound That Made You Say "Damn": Meet Manny Laurenko
BY: HANNAH SIMON
Published: 8.18.25
Read time: 6-10min
E
veryone hears the music—but not everyone knows the hands that built it. Aux cords and origins is CGR's interview series dedicated to the new and seasoned producers, engineers, and sonic architects behind the tracks we live by. These are the quiet visionaries, the deep listeners, the ones
who turn feeling into frequency. In each installment, we sit down with a rising or established force to trace their journey, unpack their process, and understand how they build worlds - one beat at a time.
Featured: Manny L. in Promotional Photoshoot
Music. We all know it, we all love it. It’s woven into every part of our lives. But like many, we’ve often wondered, how do you get started and actually break into music? How do you get your sound heard? Where do you find your creativity? We see the acts, the glitz, the spotlight. But when the stage comes down, the lights go out, and the crowd clears - who’s behind the sound? Rarely do we get a peek into the process and the how behind those who lay the foundation for the music that moves us.
That part often stays a mystery.
We sat down with one of Philadelphia’s finest rising producers, Manny Laurenko, to pull back the curtain. From making beats on desks to earning production credits on projects with PNBRock, A$AP Ferg, and Kanye West, Manny’s journey is as raw as it is inspiring. This is how he found his sound, maintains his creativity and started building a legacy of his own.
We met with Manny on a gray, rain-soaked spring afternoon, the kind of day that might’ve prompted a reschedule. But he arrived, unbothered by the weather, carrying a quiet confidence and a calm presence. There was no need for small talk. He took his seat, ready to share his story, and we were ready to dig in.
So, how did you get your start in music?
M: I fell in love with music as a kid, just growing up around it. My older siblings played a big role in that - I’m the youngest, so I was always listening to whatever they had on. It wasn’t music I would’ve chosen myself at the time, but I developed a real appreciation for it. “Eventually, that led me to start finding music on my own and exploring genres that felt more like me. What really hooked me were the gimmicks a lot of artists had back then, it reminded me of wrestling. The characters, the stories, the visuals, it all felt bigger than life and pulled me in completely.
Who were some of the artists you fell in love with via your siblings?
M: Lil Wayne, DMX & rough riders, Luda Chris, Chingy and other down south artists; CC Waynans, Kirk Franklin, Micheal Jackson, Whitney Houston - I love Whitney Houston. Shout out to my mom, she shaped a lot of my music choices too.
So, how did you get your start in music?
M: I fell in love with music as a kid, just growing up around it. My older siblings played a big role in that - I’m the youngest, so I was always listening to whatever they had on. It wasn’t music I would’ve chosen myself at the time, but I developed a real appreciation for it. “Eventually, that led me to start finding music on my own and exploring genres that felt more like me. What really hooked me were the gimmicks a lot of artists had back then, it reminded me of wrestling. The characters, the stories, the visuals, it all felt bigger than life and pulled me in completely.
Who were some of the artists you fell in love with via your siblings?
M: Lil Wayne, DMX & rough riders, Luda Chris, Chingy and other down south artists; CC Waynans, Kirk Franklin, Micheal Jackson, Whitney Houston - I love Whitney Houston. Shout out to my mom, she shaped a lot of my music choices too.
Southern rap and Ruff Ryders and Whitney Houston - they all bring such distinct energies how have they influenced your sound? What specific elements did you take from each that still show up in how you create music today?
Manny L. and his Mother (Marilyn) 1998
M: It was the unorthodox style - on both ends. Like wrestling, each artist had their own character, their own vibe, and that made them stand out. I was drawn to the flows and all the little sound effects you could catch tucked into the beats. It was those moments in a song that make you stop and say, ‘Damn, that was crazy’ — the details that make you fall in love with it.
What was your first time in the studio like?
M: I was a kid, so I wasn’t really interested until high school. I always used to make beats, but it started out as me just drumming on desks before I actually learned how to make music. My first real beat was definitely in high school, but knowing me, I probably didn’t like it because it felt hard. Back then it was mostly me just playing around with my friends, rapping and not taking it too seriously. That didn’t really shift until college. I ended up dropping out—I was studying forensic science—and that’s when I started leaning into music full-time.
Once you officially started making music - what was your first big track?
M: Spaceboy, for sure. Before that, me and my boy Tsan dropped an EP called Farewell, and that really built a lot of momentum for me. I always knew I could do this—I just wasn’t sure how far I wanted to take it.
Did music start off as more of a hobby that transformed into a career? Or was that always your goal?
M: Once I knew I wanted to do music in college, it stopped being just a hobby—but it also wasn’t like, “okay, I need to be the best at this.” It felt more like playing a video game to me. I wanted to get good at it and do well, and that’s what made it fun. To this day, I still see it the same way—I do music for fun, not for the money. It’s never been about that. Honestly, I’ve spent way more investing in my music than I’ve ever made from it. In the beginning, I had to buy software, hardware, plugins—everything just to make beats. I even took piano classes in 2023 so I could understand music better. It was boring, but now I can read music, and that was the whole reason I pushed through it.
I don't think I needed though...I don't believe in music theory or that a certain key makes a hit. All the music I make is in C major. I guess it's my accidental signature.
M: I was a kid, so I wasn’t really interested until high school. I always used to make beats, but it started out as me just drumming on desks before I actually learned how to make music. My first real beat was definitely in high school, but knowing me, I probably didn’t like it because it felt hard. Back then it was mostly me just playing around with my friends, rapping and not taking it too seriously. That didn’t really shift until college. I ended up dropping out—I was studying forensic science—and that’s when I started leaning into music full-time.
Once you officially started making music - what was your first big track?
M: Spaceboy, for sure. Before that, me and my boy Tsan dropped an EP called Farewell, and that really built a lot of momentum for me. I always knew I could do this—I just wasn’t sure how far I wanted to take it.
Did music start off as more of a hobby that transformed into a career? Or was that always your goal?
M: Once I knew I wanted to do music in college, it stopped being just a hobby—but it also wasn’t like, “okay, I need to be the best at this.” It felt more like playing a video game to me. I wanted to get good at it and do well, and that’s what made it fun. To this day, I still see it the same way—I do music for fun, not for the money. It’s never been about that. Honestly, I’ve spent way more investing in my music than I’ve ever made from it. In the beginning, I had to buy software, hardware, plugins—everything just to make beats. I even took piano classes in 2023 so I could understand music better. It was boring, but now I can read music, and that was the whole reason I pushed through it.
I don't think I needed though...I don't believe in music theory or that a certain key makes a hit. All the music I make is in C major. I guess it's my accidental signature.
Featured: Manny L. and Friend
Featured: Manny L. and Friend
When learning how to produce, did anyone teach you?
M: Nah, I’m a self-taught producer. I don’t believe there’s a right or wrong way to make music—everyone has their own thing that works for them. With synthesizers, I got good because I was messing up, playing them the way they weren’t “supposed” to be played, but sonically it stood out. I like throwing weird sounds and instruments together, colliding them all in one—and that’s not something you can really be taught.
Your full body projects, is there usually a collective story your building or is each song within it's own universe?
M: Each song definitely lives in it's own universe, but like with my last project I wanted all the listeners to leave with something. So that was the larger theme, like with each song what are they getting out of this? Each track was different but the point of all of it was for listeners to leave with something tangible overall and that was the story.
What has been the most difficult part of your journey?
M: I'm independent, so I have a lot of freedom—and honestly, fewer problems because of that. The only issue I run into sometimes is getting music cleared by a label or an artist. But if something doesn’t work out, I just pivot. I have to keep going regardless.
Are there any negatives being an independent artist?
M: Yeah, when you don’t have a machine behind you, you’ve got to work twenty times harder and be your own machine. But I don’t really see that as an issue, because I enjoy the freedom and I feel like it builds character. So before I even get to that level, I already know how to navigate and network for myself—I’ll never have to rely on a machine to make things happen.
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Featured: Manny L. in Promotional Photoshoot
What was your first time in the studio like?
M: To reach true growth and potential, you have to aspire to be a better person—a better individual—so that anything you touch or come across benefits from that. Second, I’d say have faith and believe in yourself and your vision…well, first find the vision, then commit to it. You can’t take someone else’s vision and try to apply it directly to your own path.
What are one or two tips you'd give to an aspiring producer or artist to help them along in their journey?
In the midst of all this, how do you stay encouraged and keep your head up?
M: I pray—I always pray. I pray daily. There are a lot of days when I’m down, but I remind myself: I really became who I wanted to be. I’m a producer. I have to keep going. You’re always just one step away from where you want to be. And I know I want to build more. Music is my entry point into so many other things—I want to build businesses, I love architecture, I want to build homes. Knowing there’s so much more ahead of me, so much more to look forward to—that’s what keeps me going.
In the midst of all this, how do you stay encouraged and keep your head up?
Manny Laurenko’s story is still unfolding, but what’s clear is his foundation: resilience, faith, and a love for creating sound that hits deeper than the surface. From drumming on desks to shaping tracks for some of hip-hop’s biggest names, he’s proof that raw talent paired with persistence can carve its own lane. Independence hasn’t just given him freedom—it’s given him character, vision, and a blueprint that goes beyond music.
The beats are only the starting point for Manny. Here’s the wisdom he leaves behind for every creative chasing their own vision:
M: Nah, I’m a self-taught producer. I don’t believe there’s a right or wrong way to make music—everyone has their own thing that works for them. With synthesizers, I got good because I was messing up, playing them the way they weren’t “supposed” to be played, but sonically it stood out. I like throwing weird sounds and instruments together, colliding them all in one—and that’s not something you can really be taught.
M: Nah, I’m a self-taught producer. I don’t believe there’s a right or wrong way to make music—everyone has their own thing that works for them. With synthesizers, I got good because I was messing up, playing them the way they weren’t “supposed” to be played, but sonically it stood out. I like throwing weird sounds and instruments together, colliding them all in one—and that’s not something you can really be taught.
When learning how to produce, did anyone teach you?
M: Nah, I’m a self-taught producer. I don’t believe there’s a right or wrong way to make music—everyone has their own thing that works for them. With synthesizers, I got good because I was messing up, playing them the way they weren’t “supposed” to be played, but sonically it stood out. I like throwing weird sounds and instruments together, colliding them all in one—and that’s not something you can really be taught.
Your full body projects, is there usually a collective story your building or is each song within it's own universe?
M: Each song definitely lives in it's own universe, but like with my last project I wanted all the listeners to leave with something. So that was the larger theme, like with each song what are they getting out of this? Each track was different but the point of all of it was for listeners to leave with something tangible overall and that was the story.
What has been the most difficult part of your journey?
M: I'm independent, so I have a lot of freedom—and honestly, fewer problems because of that. The only issue I run into sometimes is getting music cleared by a label or an artist. But if something doesn’t work out, I just pivot. I have to keep going regardless.
Are there any negatives to being an independent artist?