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Video Directed & Edited by: David James
Additional Graphics by: Gangster Doodles
There is something so appealing to the eye about black and white photography, it feels dramatic and creates a juxtaposition within the contrast of lights and darks. Similarly, black metal sculpts this direct comparison within the lights and darks of music. The pounding moments with the growling vocals would not be as substantial without the lights that adapt the impact around the sound.
Kyprian’s Circle is not a new band, having their first release in 1996 which was only a demo to the EP of Noitatulen Vartija, where their sound was fully realized and utilized to include more instruments, greater depths of sound, with a unique spin on the common style of black metal. Noitatulen Vartija is fairly complex in the way that Kyprian, the band’s leader approaches the instruments.
While there are the often assaulting drum blasts that are common with black metal, there are also these pianos and key patterns that spawn a new illustrative glory within the works. Taken directly from the self-titled track “Noitatulen Vartija”, Kyprian is a master behind these cascading keys that forms a gothic appeal to the record, and while there is variation, there is never a loss of direction within Noitatulen Vartija.
As the screams grow and become more flagrant, the ability to show drastic change within the tracks are continually impressive from Kyprian’s Circle. The band might consist of only one member, but the manipulation through instrumentation is progressive. “Helvetin Pajassa On Miekkamme Taottu” is surprisingly short but packs a whole lot of sound into these bite-sized cracks. The consistency of the bass and snare that push the beat along, while the overlaid screams and guitars recoil control this dichotomy.
Kyprian’s Circle continues to balance overarching pain, with the thrill of danger. Resembling somewhat of a rollercoaster, Noitatulen Vartija starts with this rising motion and anticipation before reaching a climax that begs to be played again. The record is quite lacking in length, as the longest track is only 6:27, a rarity within black metal. But through the shine and the deceit, there is a reason to return to Noitatulen Vartija through the trial and tribulation.
Kyprian’s Circle holds these doomsday keys with Noitatulen Vartija. The record is striking and continues to illustrate some of the better reasons of why metal was so exciting in the first place. It feels unpolished, approachable, and evil.
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Directed By: P.V (@PV.ny)
Edited By: ISAIAH CARTER (@ZayCvrter)
Photography By: Adam Lomax (@Snapsoflomax)
Child’s Play Song Produced By: Tyler Dopps (@TylerDopps)
The DMV has lately seen a rise in some of the most influential hip-hop, RnB, and musical acts in the past 10 years than seen previously. The boom has been one of the major reasons why artists from the DMV know how to make a unique and definite sound, while staying true to themselves and never losing that artistic vision.
Ari Lennox was the first woman signed to Dreamville Records, known to be headed by J. Cole who has his own plethora of talent and vision by his side. Lennox might not be a straight arrow when it comes to rapping, but her skills as a seamstress of vocals over catchy, memorable, and distinct instrumentals is just as important to recognize.
As she moves into Pho, the 2016 EP that holds more than just an introduction to her music. “Yuengling” is the first glance into the infinity pool where Lennox invites the listener in, forming a perfect relationship through these graceful traces of soul and underlying factors of sensuality. “That Yuengling make you do ya thang, all white docs and a pinky ring. Pop it so good make you wanna sing, all night long like a Mary Jane,” Lennox explains through this high-pitched but reminiscent tone. Her voice feels familiar as it strikes through the speakers, invoking old feelings of love and necessity.
As she moves into the following, “Backseat” holds the only feature present on Pho by Cozz who is another Dreamville Records artist. This is where Lennox becomes completely focused on the physicality as she describes, “Would you hit it how I like, would you hit it in the back seat of my ride? And I know it’s risky right, but I want it in the backseat of my hmmm.” It is hedonistic, but also makes for a nearly impeccable song to move the feet to.
That is primarily how Pho rides through as the mostly peaks and valleys create this flashing dichotomy of love-making and dancing the night away. Lennox is a cheerful remix between these more horn-heavy, almost swing styled beats and the sluggish, grinds toward emotional freedom. She is lovely throughout on Pho, fading sensations almost as a DJ would during a live mix.
She can ride through the waves of instinct, collecting some love and shine along the way. Pho is a beautifully produced, standout for the way that Lennox holds her own and has no problem letting the weight of Dreamville rest on her shoulders.
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Directed By: Bknott
Shot By: Moco
AC: Bknott
Production Design: Bknott & Yb Intl
Edits By: Bknott
Prod By: Kay-1
Engineered By: Boa (Mixology Studio’s)
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Cover Art By: xxvnii
Producers: Migu, Grayera, Greaf, Vegard, Musa, Spacedtime
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Directed By: rubberband. + Show Me the Body
Produced By: Asha Efia Maura
Cast: Elijah Maura, Matthew Valdez, DAK, and Richie Fernandez