New Wave Magazine Issue IV

Arinze Stanley Emmanuel Odumade Someth1ng Gallery

Tate Modern Pyramids of Egypt

IAMDDB House Of Pharaohs Wxave96: Interview

PROGRESS Review Memories Don’t Die Review The World Is Yours Review Pain & Pleasure Review

UK Artists On The Rise

Black Panther LAMBB: Future First

Alantic Glo: Intro Installations Branding The Interview

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His work is so picturesque that viewers often have to be reminded that although Stanley is a photographer, they are not witnessing any camera work at all, rather the patient and perfectionist strokes of a pencil. Stanley’s work is a shocking revelation with regards to human potential.

To have the ability of relaying a drastically vivid message through such ultra-realistic artistry is a gift bestowed on any individual that comes across his work.

As a Nigerian artist he is one of the leading figures in the hyper realist movement. He is a vibrant light alongside the talents of Ken Nwadiogbu and Ayogu Kingsley, the irony lies in the fact that he has turned off all the colours on his Instagram profile.

Stanley live by an alliteration that has proven to be the trifecta that unlocks his seemingly inconceivable ability. Patience, Practise, Persistence. These are three aspects of his artistry that have allowed him to master the craft of drawing.

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hat makes you feel?

What makes you connect to your deeper self and liberate your mind? What is it that you can be engulfed in for hours and have no worries but pure determination to complete?

These are questions that Arinze Stanley Egbengwu can comfortably answer in three letters.

Art is the soil that nourishes the creative seeds planted in the mind of the gifted hyperrealist

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Patience, the ability to accept or tolerate delay, delay which takes form in the pursuit for perfection. Stanley has been quoted saying “(These three P’s) have guided me over the years to perfect my craft”. As Stanley draws, time stands still. The melodies that play through his Beats Electronic headphones are a tool used to drive his focus towards creating yet another masterpiece.

The meticulousness of his work is so evident in the subtle markings in the skin of his subjects

which he replicates with precision.

The aberrations and unique structures of his subjects are elements of his art that certify his genius level ability to endure the long suffering of the creative process in order to reach the promise land of perfection.

This elite quality takes time, time that the greatest the art world have ever seen dedicated to the craft. Stanley steadily draws and tones his subject while the seconds turn to hours and bring him closer to the culmination of his work. 200 hours is the average time it takes from the hypothetical the first grain of sand in an hour glass to the last. To put things into perspective, if we replace the music in Arinze’s headphones for a 400 page audio book, for one piece of work Stanley would easily have listened to 20 – 30 books worth of knowledge.

Although this knowledge does not come in the form of academia, this knowledge however comes in the form of his increased understanding of himself and his purpose.

Practise is an element of his artistry that has been evident from the young age of 6. As he was exposed to his family ‘s paper business, from a young age he was aware of how useful this tool was and would be. However, he didn’t fully dedicate himself to art until 2012.

This was the year in which he found inspiration through the works of artists like Emmanuele Dascanio and Kelvin Okafor on social media, a platform that has garnered him an immense following. During this period in his life he would improve his drawing skills in a very enthusiastic way, unknowingly illustrating the pencil lines that would lead him towards being recognised across continents as a powerful talent in the creative industry. Arinze over time would tirelessly work at his craft, developing his skills and also the narrative of his work, fine tuning what his art would mean to people beyond the unbelievable detail. He would continue to practice how to connect to the audience through art, finding and moulding himself into a figure of inspiration and strength within the Nigerian and even African community through his artistic craftsmanship.

Stanley wants to cohere people with a sort of “artist-viewer” bond as the viewers’ eyes gawk in disbelief over the details, feeling the expression or almost hear the voice of the subject, occupying a range of emotions; affliction, reflection, fatigue, humor and surprise, amongst others. He describes everyday he draws as a journey for him, a journey to his destination of success continues.

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Persistence, the key to unlocking the profitability for all the hard work, blood, sweat and tears. The final element to the long-lasting mantra of Arinze Stanley.

From the year of 2012 he has diverted his attention from Agricultural engineering, a profession of which Stanley dedicated his higher education studies to, toward being a full-time artist and creative.

In an interview with PulseTV Stanley describes this period in his life, saying “I decided to take it as my full-time career to make it actually a job and it’s been pretty good till lately. I started getting a lot of support and yeah, I think it’s my full career. I’m a full-time artist, I never went for any training, I’ve always been working on my own. As a matter of fact, I’ve barely met many artists in Nigeria, so I’ve been working with myself and by myself.”

His persistence to be great has continued to materialise. Stanley is one of the artists from Nigeria advocating comradery between artists and supporting the artistic movement that will be spoken of for decades to come. He describes the dexterity of the Nigerian art world saying “One thing I love most about Nigerian art is the level of diversity in the art. There are so many beautiful kinds of art here from contemporary to local and otherwise. Inasmuch as I can say that art is growing in Nigeria, I still feel there is so much untapped.”

Stanley’s personal recognition came in the form of a remarkable hyperrealistic drawing by himself of the President of The Republic of Nigeria, Muhammadu Buhari. This drawing was the first that caught the attention of the masses.

Stanley’s persistence is evident in his courage to invest his time and energy in a profession of no guarantees, no safety net. He was determined to grow with his art, develop himself to a point where he can be compared to those he was inspired by. Stanley has worked tirelessly to reach the position he has attained in the world of art currently and this did not come easy.

With no art training it is even more mesmerising as to how his work is so spectacular, comparable to the work of Caravaggio of the renaissance era and Dirk Dzimirsky of more recent times.

The quality of this portrait will make you question the integrity of a photographic image. The stellar detail in the fabric of his clothing to the strands of hair on his head pushed this piece to great heights, paving the way for Stanley to go back into the lab and take his work to a new direction.

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Works that has also garnered a huge amount of attention by Stanley are his pieces Insomnia I and II. These hyper realistic self portraits profusely tell a story of worry, doubt, and anguish. These pieces can be dissected, and micro analysed in various ways, in relation to how the art may be a form of self-expression of the artist himself or even relating to the viewer, as the subject is depicted in a composition that many can relate to. This relationship is built on Stanley’s ability to illustrate the droplets of sweat so clearly draped over the figure, allowing the viewer to think about the situation that lead to that point, waking up in a cold sweat after a terrible dream or a traumatic thought.

So much empathy and human emotion is attached to these pieces that truly make them ‘art’ rather that just a life like illustration. Insomnia I is such a master piece that it has been recognised by the American Art Awards 2017 as the World Best Self Portrait, coming out on top against USA’s Mano Sotelo, Sweden’s Susanne Persson, Taiwan’s Lynn Chen and more, Voted so by 25 of the best Galleries in the United States.

One of our personal favourites is his amazing piece ‘Innocence’. A beautiful representation of a young boy seemingly playing a game of hide and seek (subject to interpretation). This piece speaks to us so deeply because of the immaculate detail that genuinely will be mistaken for a black and white photography if not corrected.

Aside from the quality of the drawing, the scene which has been depicted connects in a way that allows for reflection, looking back to the days of innocence and childhood activities. The fact that the subject seems not to be wearing cloths also adds to the vulnerability of the piece of art.

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‘Innocence’ give the impression that a young child in pain or distress was sitting crying about a particular thing and a friend comes from behind to console him.

May this be a commentary on how us as humans need to maintain the empathy and uncalculated comradery that shines in the life of children? This spectacular piece could also be a way of expressing purity.

Purity in a child, purity in water and purity in support.

Whatever any particular viewer detaches from his piece there is an underlining awe at such supreme talent

Arinze Stanley is one of the most important artists of the new age. He inspires not only by his art but through his messages to other artists. With over 100 thousand followers on Instagram he has developed a support base that is befitting to the work he produces and the messages he disseminates. Stanley was part of his debut group show held at the Omenka Gallery in Lagos, Nigeria in 2016 and had his debut international exhibition at Scope art show during Miami Art week 2017. Examples of the recognition is due to attain in the coming years.

Stanley is an individual that has continued to push his work through the use of the three P’s and is developing from a brilliant photorealist to adding symbolism more and more into his work, evident in one of his latest pieces “Wailing Wailing and Wailing”. As not only an artist but a photographer and generally creative mind he has also published a creative magazine called “Short Sharp Shot” highlighting great artistry, much like we do. We will undoubtedly be keeping our readers updated on the work of Mr Arinze Stanley Egbengwu.

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ords that best describe the emerging powerhouse of hyperrealism, hailing from Ijebu Ode in Nigeria, are humble and talented. New Wave artist Emmanuel Odumade is an exceptionally talented artist that carries out his detailed craft in the mediums of graphite, charcoal, pastels and coloured pencils. We initially came across the work of such a talent on social media where he was in the process of putting out his content to the world, beginning with a few hundred people which was soon to be recognised by millions of people months later. Born on the 23rd of November,1999, it is amazing that such talent can be cultivated at such a young age and his potential is astronomical.

Through his talent he has had the opportunity of gaining commission for musicians, politicians, and lovers of his work. He continues to build his portfolio of amazing, life like drawings that continue to get better with time. At such a young age he is a fighter and continues to persevere in the world of art, paving a way for himself to be acknowledged as one of the rising stars in the hyperrealist movement.

With so much talent arising from the continent of Africa, Odumade is beginning to take his rightful place as a talent recognised amongst the rest as worthy of placements and positions that merit accolades. He has been patiently waiting for his moment, but his time has come.

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Odumade is very God-fearing youth that credits all his talents to the most high. Through his work he aims to serve the people, giving individuals beautiful representations of themselves in charcoal and graphite. His talents have been recognised by various popular online profiles, Grime artist Skepta and most notably, Afrobeat superstar WizKid. Through his fan artwork, an individual in Wizkid’s inner circle came into contact with the piece and informed the superstar about the piece of work. This piece was also accompanied by a portrait of Wizkid’s son Bolu.

This caught the attention of Wizkid so much that he purchased both pieces and met with Odumade to thank him for his outstanding work. At this point Odumade’s recognition multiplied overnight, allowing him to build a very strong following for his work, breaking his entry into the art scene and propelling him to greater heights.

Wizkid’s appreciation for his work and humility did not stop there as he was a fan of Odumade’s latest piece called “Lion Of Africa II”, which depicts Wizkid with a confident and even aggressive expression as a lion is resting over him like a fur coat in the winter.

The lion seems to be very comfortable resting on the shoulders of the Afrobeat star.

A stunningly precise and detailed imaginary piece with such subtle and enlightening symbolism. This piece shows Emmanuel’s continued progression in his work, from portrait art to work composed to tell a story and connect on a mental and emotional level.

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Along with acclaim from fans of his work and other creatives, he has gained respect and comradery between himsself and artists in his industry. Recognised artists such as Ayogu Kinglsey and Ken Nwadiogbu have continued to support him and his endeavours, acting as Emmanuel’s mentors through his journey.

One of Odumade’s Pieces of work, which caught our attention, is the drawing “This Is Not My Real Face”. This is a drawing that captures our attention with every sigthting, due to the masterful detail and humourous utterances.

From the veins in the eyes of the subject to the texture of her skin, Odumade delves deep into the barrel of his potencial to create this work of art. He captures the 3d dimension of the piece so well through shadow, tone and highlights that gives the piece so much realism. This piece is also a comical reference to an expression recognised in Nigera as a way of saying “I told you so” or “sorry, not sorry”. Looking at the piece now we may come to the realisation that Odumade might have subconsciously be telling us that he knew that his art would lead him to create things and that he told us so, whether we were convinced at the time or not. A unique piece that exemplifies his aptitude for photo realism.

Odumade’s ambitions for the upcoming year are to enter his work into art competition to build more recognition within the art industry and continue to create commissioned work for those interested, all this including preparing for further education. Odumade is an inspiration to young creatives to cultivate their talent from a young age and that the hard work will be evident in once capacity or another.

We at New Wave Studios are very happy to have him as part of our team and we hope to aid in his progression in the art world.

Odumade Has a God given talent that will continue to flourish as his perspective of life continues to grow. He is one to watch in the current hyperrealistic landscape and will be recogised in the art world as a house hold name in the near future.

- Derrick Odafi, New Wave Writer/Editor In Chief 18

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eing an artist is an ambitious profession, one fuelled with passion, expression, and fearlessness. These are attributes that society continuously stifles out of creative people, from the moment they come to terms with their reality and the urgent need for survival. Art is an escape and a tunnel towards freedom for both the viewer and the artist themselves, a form of communication that is invaluable.

Many may ask multiple questions about the world of art. Why can it be so expensive? Why is there an exponential amount of variation in price? Is art that important? Our answer to the latter question is a resounding yes. Art is a tool that has continuously been a pillar of society and representation of the times for many millenniums, from the stone ages to the Egyptian civilisation, up until present times.

Art is one of the most valuable commodities in the world and artistic expression will continue to be created as long as we live, a renewable source of all forms of energy, depending on the life span of the human race. Art can be paralleled in some ways to commodities we need in our daily lives such as oil and water, it can also be compared to modern forms of trade and value such as cryptocurrency or stocks and bonds. In the words of art enthusiast and rapper Jay Z “I bought some artwork for one million Two years later, that s*** worth two million Few years later, that s*** worth eight million I can’t wait to give this s*** to my children”

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The art world for a long time has been taking advantage of the creators, the individuals that dedicate their lives to the craft get a share of their talents while venture capitalists cash out, most times leaving the artist without a say in what they have produced. There have been artists that successfully taken control of the system, such as Cy Twombly and more recently artists like Jeff Koons and Richard Price, but not nearly enough have.

This is a task that Rebecca Hinde, founder of Someth1ng Gallery, feels vigorously passionate about, passionate enough to leave her corporate life behind and persue a profession of being an art connoisseur who fights for the rights of the artists and believes in the vision of the work she exhibits in Someth1ng Gallery.

Upon Our visit to the gallery located at 52 Honor Oak Park in south east London, there was a radiant embrace of welcome and a love for community. This welcoming and warm feeling was also supplemented by the beautiful work of Adébayo Bolaji, an artist we know and love. Rebecca proceeded to talk about the art and the artist is a way that felt as though she had a deep connection with the huge pieces that surrounded us. She would speak candidly about the work and how it affected her personally and her vision for the small but very vital gallery space, welcoming passers-by with a wealth of culture and positive energy.

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Someth1ng Gallery aims to bring members of its immediate community and art lovers from around the world together. Scouting the best of the burgeoning local talent and merging it together with international contemporary art, staying authentic to the true values of art and the artistic expression of the creator.

The gallery makes an effort to disseminate their artists vision without the exploitative intent of some, while ensuring that people can enjoy art ownership. A platform that is built on empowerment, as a risk taker and vanguard of her own movement, Rebecca Hinde aims to give talented artists whom struggle to make an impact, or otherwise, a place to be in control and be free.

The philosophy of this gallery is that original art is important to human beings and it must be celebrated, promoted, and supported as such. The name of the gallery frames the feeling that draws you into the idea of what they are trying to achieve, the feeling of something. To feel an emotion of some sort whether you are a buyer of the pieces or an intrigued individual.

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During our meeting Rebecca continued to reiterate the importance of coming to a physical environment and experiencing the art before it is purchased. Looking at art online is a completely and less inspiring experience compared to witnessing the actual size, texture, and layers of a piece of art. Some1thing gallery believes in the value of things that are unique and in the individual experience of engaging with art, and this gallery is the perfect place to engage with such.

The sense of fulfilment from owning something precious that has a past, present and a future is an energy that any buyer who walks into this gallery will feel. Artists make our world better and they work with artists to give them a fair slice of the sale price, which is somethings that helps continue the creative process.

Someth1ng Gallery wants the artists they are involved with to be just that and not have to deal with the trials and tribulations of chasing a living, they aim to be a platform that is a launching pad towards continued success. The gallery has connections to both widely known and unknown artists, of course AdĂŠbayo Bolaji whom sold 6 pieces at the exhibition which took place from the 20th of February till the 24th of March 2018, all around the price of ÂŁ6000. The gallery also exhibits and sells art work from artists such as Daniel Cooke, Sophie Dickens, Juan Ford and Rebecca Fontaine-Wolf.

Someth1ng Gallery is a location on the rise that aims to have exhibitions in may parts of the world and bringing art to the people in a vulnerable and transparent manor.

-Derrick Odafi, New Wave Writer/ Editor

Art by Daniel Cooke 23

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Manzi Jackson Digital / Drawings / Paintings Medium:Digital, Oil Paint, Pencil Style: Other Subject: Figurative, Portraiture Location: Kigali, Rwanda Bio: Manzi Jackson is a traditional and digital selftaught Artist based in Rwanda.

His paintings depict Afro-beauty with feminine energy dominating his subject matter, as they don’t have a singular emotion, but rather an equanimity, serene emotion.

Inspired by a multitude of sources, his digital artworks are executed with bold saturated colors, and playful brushstrokes.

Creativedebut.co.uk

Papay Solomon 3D / Drawings / Paintings Medium: Oil Paint, Watercolour, Wood Style: Conceptual, Other, Photorealistic Subject: Figurative, Portraiture Location: Phoenix, United States (US) Bio: Papay Solomon (born in 1993) is a Liberian artist conceived in Gueckedou, Guinea due to the Liberian Civil Wars that lasted for approximately 14 years.

At the age of five, he was relocated to a refugee camp in Guinea where he discovered his passion for the arts. Currently, Papay is based in Phoenix, Arizona and studies Fine Art at the Herberger Institute for Design and the Arts.

Creativedebut.co.uk

Marcel Lisboa Digital / Illustration / Prints Medium: Digital, Paper Style: Collage, Surrealism Subject: Figurative, Portraiture Location: Sao Paulo, Brazil Bio: Graphic designer Marcel Lisboa, living and working in SĂŁo Paulo/Brazil, uses digital means to create his utterly unique illustrations; all of which expressions of private worlds that reveal a distinct story and invite endless contemplation.

Through digital collage the artist reflects his key inspirations: the Renaissance, the Baroque and Neoclassicism. But by shunning the usual genealogy of the Dadaists, Lisboa creates an unique aesthetic based on stunning draftsmanship and evocative scenography.

Creativedebut.co.uk

Vickie Vainionpaa 3D / Digital / Paintings Medium: Oil Paint Style: Collage, Surrealism Subject: Abstract, Futurism, Surrealism Location: Montreal, Canada Bio: Vickie Vainionpää is an emerging artist living and working in Montréal. Recent exhibitions include Fresh Paint/ New Construction at Art Mûr (Montréal, QC) and YES! at UWAG (Waterloo, ON). She has won many creative awards such as the Artist Project’s UNTAPPED Emerging artist booth award, and 1st place in the Ontario Society of Artists Emerging Exhibition in 2016. She was recently a resident in Visual + Digital Arts at The Banff Centre (Banff, AB).

Creativedebut.co.uk

Jessica Pierre Ross Fashion / Paintings / Photography Medium: Photography Style: Collage, Conceptual, Photorealistic Subject: Fashion, Portraiture Location: london, United Kingdom (UK) Bio: As a creative director and photographer Jessica is a conceptual enthusiast utilising a range of research techniques to deliver innovative approaches to contemporary image making. Whether exploring a subject or social matter working within the medium of analogue photography as a means of discussing her own identity or that of others.

‘More than anything it’s an interaction, a mutual exchange; a snapshot of insight in front and behind the lens’

Creativedebut.co.uk

On this issue’s photographer spotlight, we focus the light on the Newham based creative and founder of multimedia company ‘Creative Indivisuals’, Azeez Bello. An avid student of music videos and visual content from an early age, Azeez has always understood the importance of an aesthetically pleasing visual.

Armed with nothing but ideas and a smart phone and wanting to test his skills and started on his creative journey.

His style is perhaps his biggest strength. Too often photographers can be guilty of trying to do too much in their bid to “out-do” the competition or make their work something it isn’t; but Azeez offers a refreshingly minimalistic look, where tones clearly complement each other, a clear subject can be identified, and rather than force a message to the viewer, leaves it open for our own interpretation.

In his shots, the young visionary takes into account each and every complexitycomposition, lightening, backdrop, props and the message behind said shot, and still manages to successfully combine all to create a crisp clear shot which can be appreciated by whoever comes into contact with his work.

Whilst continuing to exhibit his versatility throughout his body of work- with themed shoots, portraits, candid captures- there is no drop in the quality of the finished product and the viewer is still able to recognise hallmarks of his unique style.

A recent collaboration with LAMMB to produce the short film ‘Future First’ is a credit to his skills as a videographer. The project was intended to highlight the appropriation of culture of the black women for profit by the western media and frankly speaking, it is a truly mesmerising and powerful message.

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The smooth, clean transition between shots and slow-motion cut aways are almost hypnotic and allow the viewer to be lost almost as if one is in a trance as they listen to the powerful voice of the narrator. You can read more about the Future First project and concept in more detail on page 162.

Moving forward, Azeez sees Creative Indivisuals being a platform for young creatives from less privileged backgrounds to be able to work on their crafts and make connections with influential visuals in their desired field, all for the price of nothing! A truly noble act.

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Although the electrical switch station is incorporated into the gallery, it is still used to power a large part of the City and South London. EDF, who own the station, are modernising their equipment to reduce its imapact of the gross internal area of the structure

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ate is a creatively inspired institution that houses the United Kingdom’s national collection of British art, international modern and contemporary art.

They house various exhibitions and artworks ranging from renaissance paintings to modern sculptures. The Tate Modern is one of 4 galleries in this institution that houses the most contemporary pieces out of the rest, dating back to the beginning of the 20th century till present day.

The Tate Modern is one of the most recognised galleries in the United Kingdom. This modern representation of art not only needed to be exemplified in the work itself but also the building in which houses these works of art. This gallery is located in the former Bankside Power Station, in the Bankside area of the London Borough of Southwark. As a former power station, which closed in 1981, the most notable part of the building was the substantial central chimney standing 99 m (325 ft) high. Making it visible beyond the millennium bridge, allowing access from one side of the Themes river to the other.

The long, steel framed, brick clad building has a huge main turbine hall in the centre perfect for open exhibitions and a spacious entrance into the main building.

However, this industrial building needed to be added to in order to bring the gallery to the 21st Century, a fitting location for the latest modern exhibitions.

Since the opening of the Tate Modern in April 1994 till the completion of the new extension, over £350 million has been spent on the gallery. The amount of £134 million was used for conservation of the building, commissioned by Herzog & de Meuron and the extention project designed by the same firm, with a budget of £215 million. This new development was built to transform the attraction of the Tate modern even more than its already widely successful status.

An iconic new building will be added at the south of the existing gallery, creating more spaces for displaying the art collections, performances and installations, therefore allowing visitors to engage more deeply with art, as well as creating more social spaces for visitors to unwind and relax in the gallery.

This 10-story tower was built above the oil tank, a concept that was always envisaged for the purpose of eventually be integrating this industrial feature of the previous movie into the gallery.

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The profound purpose of this new extension is to stimulate learning at the heart of the Tate Modern, increasing space, 60 percent more to be exact, of the turbine hall and improved facilities to connect visitors with opportunities for discussion, private study, participation, workshops and practicebased learning.

Herzog & de Meuron designed a unique building, attributed the name ‘Switch House’ due to its exterior of latticed brickwork and folded surfaces, similar to the cladding typology of the existing building.

While its interior includes an assortment of overground and underground galleries, as well as a new roof terrace offering panoramic views of the city. This construction was sure to spark conversation and fuel opinions, whether good or bad. The dynamic building is a 21st century development inspired by the brutalist era.

One of the key elements in this building was sustainability. This building set new benchmarks for museums and galleries in the UK. Located above an oil tank it only makes sense that this development of the gallery would aim to be energy efficient. The ‘Switch Building’ draw much of its energy needs from heat emitted

by EDF’s transformers in the adjoining operational ‘Blavatnik Building’. With a high thermal mass, frequent use of natural ventilation, and utilisation of daylight. Large perforations allow light to filter in during the day, and cause the building to glow in the evening. The new building will use 54% less energy and generate 44% less carbon than current building regulations demand.

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The vary minimalist and neural building is largely made of concrete and maintains a cold concrete finish throughout the interior. Herzog & de Meuron aimed to create the second set of galleries on the opposite side of the Turbine Hall. There is a connection between the new spaces and the existing galleries to further aid the transition from the main building to the new development. One of the interesting features of this building are the swirling staircases that add character to a sort of Modern representation of an industrial building. Another is the ability to gain vantage points from different levels of the building via new indoor bridges on the first and fourth floors.

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Although the preservation of the old and the design of the new were both commissioned to Herzog & de Meuron, this did not come without its challenges of how to build that seamless connection between the old and the new. Herzog speaks of result of this project saying “An addition to an existing building is always very difficult, even problematic; some people will like the new part better, others will prefer the old part, some may say the extension was not necessary, others are convinced of the opposite”.

Overtime, due to this new development the Tate Modern has grown in number and culture. The new Tate allowed a broader change in contemporary art. Film, video, photography and performance, therefore becoming more essential strands of artistic practice.

The large 5.85-meter-high exhibition suite in the new building was created to ease the crush in blockbuster exhibitions and will allow extensive career surveys to be shown as a seamless whole.

This is a flexible space which in one season showcases a single largescale exhibition, whilst in the next showing a mid-scale exhibition alongside a related display from the Collection.

The building also inhabits a wide range of distinctive gallery spaces. Level 4 will feature smaller-scale, intimate galleries which will offer the potential for a quieter and more contemplative experience while the galleries on Level 5 will feature high ceilings and natural daylight, creating a very different type of space to the flexible exhibition suite and smaller-scale intimate galleries.

Level 4 is dedicated to to works on paper, small-scale sculpture and photography, meanwhile there will be a dedicated children’s gallery in the new building, programmed for 5–12 year olds. It will be a space to let children, as well as adults, feel that Tate Modern is theirs to explore.

The Switch House arranges the new spaces into a unique pyramid-shaped tower, with its concrete structure folding into dramatic lines as it rises.

Reinterpreting the power station’s brickwork in a radical new way, it is clad in a perforated +lattice of 336,000 bricks. This unique façade allows light to filter in during the day and to glow out in the evening, transforming a solid, massive material into a veil that covers the concrete skeleton of the new building. These elements give London a charismatic structure to inspire creativity in the young and old.

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Interview with Egyptologist Stephen Mehler

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tephen Mehler’s fascination with ancient Egypt began at the age of eight. Mehler holds three degrees in the sciences and is a trained field archaeologist and prehistorian.

Mehler also served as a Staff research scientist for the Rosicrucian Order, AMORC from 1978-1980.

Mehler is the author of the books ‘The Land of Osiris’ and ‘From Light into Darkness’. He is an Egyptologist, better said Khemitologist and has been introduced to the indigenous wisdom tradition of ancient Egypt and became himself a keeper of wisdom. Mehler was a student, disciple, and close friend of Egyptian-born Egyptologist and indigenous wisdom keeper, Abd’El Hakim Awyan (1926-2018), popularly known as Hakim.

Mehler has spend over 40 years researching the ancient tradition and is now the Director of Research of the Great Pyramid of Giza and the director of The Land of Osiris Research Project. Now he’s also organising tours in Egypt, showing people the hidden layers of Khemit’s ancient civilisation and their architecture. Our writer Aran Saleme interviewed him about the indigenous wisdom tradition of ancient Egypt.

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NWM: What is Khemitologyy? And why do you believe that it is a complete different discipline from Egyptology?

Abd’El Hakim Awyan (1926-2008), an indigenous wisdom keeper and credentialed Egyptologist and archaeologist--who studied the subject almost 75 years--saw the flaws and weaknesses in the field and created his own system. I put the label on it as “Khemitology” in 1997. Khemitology presents the thesis of a highly advanced civilisation-previous to the “dynasties” and over 12,000 years old--they were the peoples who built pyramids and carved the Sphinx.

Stephen Mehler: Author/Khemitologist NWM: We know a lot about ancient Egypt from Greco-Roman sources, in fact most of Egyptology is based on that. Why these was not satisfying for you and what was the alternative source that you chose?

We do define Egyptology as essentially “GrecoRoman Mythology,” in that most of the academic discipline of Egyptology is mostly based on Greek and Roman sources and not indigenous accounts.

The paradigms and theories of Egyptology are totally lacking in adequate scientific explanations for the artefacts and constructions we see today from Egypt’s ancient past. I chose to follow the ideas of alternative researchers until 1992 when I me my beloved teacher, Abd’El Hakim Awyan NWM: What did the ancient Egyptians themselves think of the ancient Greeks and Romans and their societies?

We redefine the field as Khemitology as opposed to Egyptology--as the ancient culture was known to itself as KHM--written today as “Khem”… we use the term “Khemitology” to differ from other forms and the people as “Khemitians.” The ancient Khemitians themselves regarded the Greeks as barbarians and “children”--unaware of their own true history.

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NWM: Can you paint a picture for our readers of these great ancient civilisation and how conscious and creative the ancient Khemitians were?

Hakim would teach us that we are innately born with 360 senses--if we think we only have five, we limit ourselves. These 360 senses, 180 we label Feminine, 180 we label Masculine and these are the so-called “gods and goddesses” of ancient Egypt. The basis of Khemitology is that everything moves in cycles, not in linear fashion, and the main cycles were called “The Five Stages of the Sun.” We are currently in the low end of the cycle but over 10,000 years ago we were in the high end of the cycle and used all 360 senses.

It was in the highest stat of consciousness that the pyramids were built and huge megalithic structures created.

NWM: In your book The Land of Osiris you question most of the theories about the real functions of the pyramids, what were the real functions according to the indigenous tradition?

In utilising our full capacity--all 360 senses--the ancient Khemitians could “think” in solid geometry and work with the hardest stone and materials on the planet--and lift and place megatonnage of stone with ease. Pyramids were built, not as tombs for “kings” or anyone--but as energy devices utilising many forms of free energy. The ancient term for them was “Per-Neter,” literally meaning “The House of Nature or Energy”--not relating to burial or any individual. Pyramid is based on a Greek understanding.

NWM: Mr Mehler, you also reject the Egyptologist views when it comes to the construction methods of the Pyramids (both the stone cutting, transformation to the site and their placement).

Can you briefly give us a gist of how it was done?

The stone used by the ancient Khemitians were some of the hardest materials known to humans.

Many forms of sandstone, limestone, basalt, diorite, granite and calcite were favoured by the ancients. Sandstone and limestone are softer stone and were used in “dynastic” historical times also--but basalt, diorite and granite are much harder stones and only in modern times have the tolerances and precision achieved by the ancient Khemitians even been approached. The architecture and engineering displayed by the ancients has confounded modern peoples for centuries. We have even found machined bowls that may contain corundum--being a hardness of 8-8.5 compared to 7 for granite--the only known way today to duplicate this would be with diamond tool-bits. The ancient Khemitians could carve in granite and diorite like it they were wood with intricate designs and precision--Master Craftsman and engineer Chris Dunn has measured tolerances in granite and diorite by the Khemitians that approach 2/10,000 of an inch in almost totally flat surfaces in huge boxes of diorite. The ancients also had no problem lifting and placing huge megaton blocks and obelisks with space-age precision. Hakim taught us the ancients utilised sound, acoustics, to create antigravity fields so the mass and weight of the stone could be lifted with ease. The idea of sound creating antigravity has only been verified in modern science in the last 50 years.

- Aran Saleme, New Wave Architecture

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lantic Glo is a brand centred around a higher concept, a brand that not just brings apparel to consumers but a feeling and idea. The word ‘Alantic’ brings connotations of paradise and serenity whilst ‘Glo’ makes reference to empowerment and not having your demeanour be affected by society. Alantic Glo is a rising brand founded by two individuals that are passionate about making a vigorous impact in the world of Fashion, these individuals are Van and Harvey.

Van is the visualiser and creative director of Alantic Glo, the decision maker in all things regarding aesthetics and the design approach, supplemented

by Harvey’s input. Van is an individual that will give anything to watch his vision continuously become a reality. As a youth he was driven, therefore putting himself in position to be self-sufficient. Van is an independent thinker with a zeal for continuous progress, which was something his previous occupation did provide for him. He therefore gave away his perceived stability to go on a journey that would satisfy his creative and ambitious plan for his life and therefore his brand.

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Harvey is the observer and strategist within the team. He is the marketing director that pushes the brand into the view point of potential buyers and influencers within fashion and music. Harvey is a University graduate whom studied his position within the brand carefully and attentively in order to execute the vision of Alantic Glo, an individual that lives by the 4 Ps (Refere to Pages 87-88). His personable approach makes it difficult to avoid the potential of the brand and where it is headed.

As the creator of the brand name, his stamp and influence of the brand is highly evident.

Van and Harvey are long-time friends, spanning over the course of over 11 years, this allows them to work in harmony with one another, respecting and trusting what each individual brings to the table, from who they want to wear their clothes to how they would want to be presented to the world on each of their platforms. They both embody the brands original ethos of vibrance and vitality, this can be referenced through the colours chosen to represent the brand.

They are a brand of the culture, the social culture and Hip Hop culture amongst others.

Although Alantic Glo was launched in April of 2017, there have been continuous strides to get better and improve its appeal and creating experiences. This has been done through a pop up shop, photography campaigns and branding themselves individually aside from their union of Alantic Glo. In our meeting with Van and Harvey we were continuously assured that the brand is only at 10% of its potential. They believe they are at a stage where they have to feed their narrative to the people before they take it to another level in the summer of 2018. At this point in time they are in their ‘Been Trill’ or ‘Pyrex’ moment before they break the glass ceiling of streetwear and expand their creative palette.

Alantic Glo is a way of living and encourages viewers and consumers alike to discover paradise within themselves. They venture to inspire and be inclusive through fashion, expression and beauty were used to describe Alantic Glo’s rejuvenated ethos.

- Derrick Odafi, New Wave Writer/Editor In Chief 70

“Moving forward we will no longer like to be considered as just a streetwear brand, as the creative director I want to lead the brand in a new direction.

A new vision.�

- Van

An installation to me is being able to portray your brand through a particular set up of a store or venue. Some individuals that I believe do this at a very high level are Virgil Abloh and Samuel Ross. Both individuals create their installations based on a higher concept, this is something I personally make a point of doing throughout my design process.

Our new collection in centred around this higher concept, detailed in our information pack. This is something I strive to illustrate visually in our Alantic Glo pop up store. These Installations bring not only a better feel and understanding of our brand, but also it will exhibit what we represent and showcase a more emotional connection to the individuals that enter the space.

Visitors will be included in an experience that explains the brand with little to no speech. In an installation it is important to develop a unique ambiance which holds weight and touches the visitor, this supplements the product and has a greater influence and impression on the visitor/ consumer. With these visual presentations, everything has to be thought about thoroughly, the creator is trying to share a vision and divulge an idea that previously did not exist in the physical realm, a difficult feat that requires certain elements.

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Yeezy Season 3 Installation

Props Props are an important part of an Installation, they add a tangible effect to the visitor. This is a component that has to be carefully thought about.

All props have to be relevant to the overall idea and based around the higher concept in which a brand has. Our New Collection consists of 3 elements that will be evident in the props added to our installation.

Timing Timing is an important factor in a project you are involved in, especially when it comes to designing an installation. Timing in terms of how long the installation is open for and how long is necessary to prepare, these are things that need to be fine tuned to make an installation a success. Planning in advance is a vital aspect of timing. Although Alantic Glo’s first installation was put together in 2 weeks, it was something we had been processing between the co-founders for months before any phone calls were made. Acquiring the venue, Designing the space and the promotion of the event are all things that need adequate time assigned to each phase.

Successful Installations What I believe makes a successful installation is firstly having the right team, secondly enough time and also room for disappointment.

Disappointment in the sense that all the elements you envisioned may not have been possible for a particular reason, but still using your resources to their full potential. Within the Alantic Glo team we have a wide range of individuals that have various talents to realise our vision, for our events Alantic Glo has a relationship with ATR events who take care of the arrangement of our events based on our specifications. It is important to have a relationship with a team like ATR that handle the coordination and fine details of brand events.

High-End and Streetwear Installations There are glaring differences between an installation for a streetwear brand and a High-End Installation. This falls down to the budget accessible.

Streetwear brands would often not have an extensive capital resource in comparison to a high-end brand, this is also due to the demographic in which each style of fashion is targeting. With the changes our brand is making, Alantic Glo as a brand needs to be cognisant of the space in which we want to exist in and how our installations to fit our demographic and developed brand ethos. HighEnd brands are noted for exhibiting their aesthetic through runway shows which also act as installations. Run ways are more elaborate and centred around movement in comparison to a pop-up store or venue just exhibiting the clothes of a brand. Runway shows are also different in terms of lighting, the main focus is on the runway, the models and the clothes they wear in contrast to the overall surroundings.

One installation which stood out to me was the Yeezy season 3 installation in Madison Square Garden, 2016. The curation of this event was an excellent example of high-street fashion, the higher concept was very evident and the exhibition of the clothes mixed with the listening of his new release combined two creative disciplines seamlessly in an impactful way. Kanye is also an inspiration with regards to fashion and this installation is evidence of his ability to think outside of the box.

Installations are a huge part of brand representation and you can look forward to Alantic Glo bringing you, unique experiences with a higher concept in Installation form in the future.

- Van, Alantic Glo Creative director

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“We are able to find a gap in the market also, not too many brands are able to exist in that gap between streetwear and high - end fashion. It allows us to be different.�

- Harvey

As a graduate in marketing communications, I understand the importance of branding in the fashion industry and there are multiple theories that play a part in the successful marketing of a brand or product. As the Marketing Director of Alantic Glo, these tools help to assure the quality and accessibility of our products, giving our consumers the best product possible. The four Ps; product, price, place and promotion are the four corners of the pedestal that elevates a brand to great heights.

Product The product in the fashion industry may vary but there are principles that need to be addressed in order to raise the demand for your product. These include; quality, design, packaging, and services.

Alantic Glo as a brand believes that the experience of the customer is vital, not just through wearing the clothing but also the presentation of the packaging. The way a customer perceives the product is a great determinant of their repeat Purchase-ability, which is something every brand wants to attain. This continuous patronage builds a strong relationship with the brand and the consumer. Improvements are always paramount, Alantic Glo continues to discover methods of presenting the brand in a better way with every release, something every rising brand cannot exist without.

Price Pricing does various things for a brand, it illustrates the demographic in which the brand is targeting, therefore illustrating the quality assurance and brand reputation. To further detail the accurate prices for a brand, the positioning map is a tool that puts things into perspective. As of yet, Alantic Glo is on its way to becoming a luxury brand, therefore the current prices of the apparel express the market we are currently in. At this moment, we exhist in a middle ground between high-end fashion and streetwear, therefore our prices are fit for our demographic of fashion enthusiasts interested in the rise of streetwear with a healthy presence of established high-end brands in their daily attire. As the quality and markings of the garments in the clothing increase, this is also an aspect that influences price.

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Place This is an aspect of the four Ps that takes into account logistics, location, transportation and coverage. This can take form in a physical store, pop ups and accessibility of the product.

Currently our brand takes pride in our online presence, a very vital method of developing a brand in the current market. When potential customers feel confident and passionate about our brand enough to purchase our products, our website is a quick and easy way to do so.

Social media platforms such as Instagram are continuously making it easier to translate and online presence into physical sales, therefore a strong online presence can be a make or break for a fashion brand. If customers have difficulty accessing a particular brand, it will definitely affect revenue.

Promotion Promotion of a brand is one of the most vital aspects of the four Ps, there have been many examples of brands with a subpar product but excellent promotion tactics that result in a successful brand. Presenting a brand in a way that connects to your target audience is one of the fastest ways to grow awareness and build a community within a brand. This may come in the form of getting influential figures to increase the exposure of your brand, creating high quality and undeniable content to support the brand ethos or aesthetic or word of mouth, which is the best form of promotion, as it causes brand awareness to grow in a comfortable and honest manner, therefore having a greater chance of resulting in revenue. As the Marketing Director of Alantic Glo, I have come to find that face to face promotion is one of the most successful methods of growing our brand.

The marketing communication mix is also a theory that can propel a brand to exponential growth. This theory allows the integration of different aspects of marketing, therefore resulting in the execution of a designed plan. Advertising, sales promotion, events/ experiences, PR and direct marketing are all aspects of this theory. Direct marketing could be done digitally via email or in person via word of mouth promotion, it is important to understand your audience, in order to be as precise as possible when designing a plan to execute this integrated theory to the benefit of a specific brand. With the expansion of our brand. Alantic Glo aims to use billboards and visual campaigns located in high volume areas to advertise and promote our events and experiences.

Our brand is always based on a higher concept, therefore advertisement campaigns that seem to garner the most interest always have a story. Delivering a message while simultaneously being visually creative is a sure way of gaining the attention of the consumer, no matter the location. A brand that consistently does so is Nike, especially in their new “Nothing Beats a Londoner� Campaign. This is an example of the marketing communication mix, cleverly making the viewer of this advert aware of the Nike brand is synonymous culture within the city of london.

Marketing in the fashion industry can be costly, but there are also ways to create a brand image and connect to consumers that need little to no monetary injection. However, to get to the highs of luxury brand, an excellent balance of the four Ps are essential.

Without being marketed in a correct and precise way a brand has a diminished chance of reaching its potential. Ideas are most important but planning the seed of that idea in the minds of consumers is next in line.

-Harvey, Alantic Glo

ALANTIC GLO SS18 HOOOIES ALANTIC GLO x MODIFIED BY MANNA CUSTOM AIR FORCE 1

MODELS: ALICE, JORDAN BUCKLEY, JORDAN OWEN STYLIST: JESSIARA MARRIOTT PHOTOGRAPHER: DERRICK ODAFI

NWM: Hello guys, Great to sit down with you Harvey: Likewise, thank you for having us Van: Great to be here and have this opportunity NWM: We have heard great things about your brand and where you want to go with Alantic Glo, how do you feel like you guys have grown from where you started till now?

Harvey: I think we have been able to express what we stand for, our core values and essence of the brand through visuals, such as photography campaigns.

Van: What I can personally say about our growth from then until now is…it’s capital. When we first started I would pretty much say we had, what… zero?

Harvey: Yeah, pretty much Van: We’ve done everything off our own backs and over time, through different creative works, capital does increase. With that we are now able to do a lot more creative projects, work with different models, stylists, photographers. That’s how we’ve been able to grow thus far.

Harvey: Definity, our network has grown from the beginning up until now NWM: What path in the word of fashion do you see Alantic Glo going in?

Van: Moving forward we will no longer like to be considered as just a streetwear brand, as the creative director I want to lead the brand in a new direction. A new vision. By doing so, I want to be able to go more high-end, I want us to have more High End/Streetwear looks.

Harvey: With that we are able to find a gap in the market also, not too many brands are able to exist in that gap between streetwear and high - end fashion. It allows us to be different

NWM: So Alantic Glo is looking to make a huge transition moving forward.

Van: When we first started, with the creative design of our brand, we wanted to make it clear that; this is Alantic Glo, this is what we stand for and this is who we are. For this new transition we are going into, everything is different, everything is changing. The artwork, the modelling, the styling…everything is changing.

NWM: What platform do you feel is helping you guys close that Gap Both: Instagram Van: Instagram has to be the biggest platform right about now, Instagram/Facebook. Originally Facebook was how we contacted the models we worked with. We had someone working for us, James. He would find the models and do the casting for us.

NWM: What was/is the biggest challenge for you guys?

Van: The biggest challenge definitely has to be money [laughs], every creative person will tell you that money is the biggest obstacle. Once you get past that, everything is possible.

Harvey: Our biggest challenge, I’d have to say, was our pop-up store last year in June 2017. That was something we had done for the first time, organising it, planning it was very challenging Van: It was…very challenging, but we did it! And all in the space of 2 weeks

NWM: 2 Weeks? Please explain how it came together in such a short time Van: Basically, the way it worked was; we had our pop-up store and a close friend of ours B Joux, who’s an artist, was meant to be having a headline show that day as well. Other artists were on the line up that night, we had Vinch come through, we had Selectar Suave, we had DJ Nico. It was a sick event.

Harvey: once it was done it was a great event, very challenging in the 2 weeks leading up to it, but everyone was great on the day.

NWM: What do you feel like has been the height of your success so far Van: I personally just think we’re loading up, I don’t wanna say we’re there yet. I feel like our success will come with this new collection. I think people will really get to understand our brand and what kind of turn we’re trying to come with it Harvey: We’re not people that like to give ourselves a pat on the back too much, we don’t like to sugar coat things. We’ve only just begun.

Van: Yeah, as the creative director, I just wanna bring forth the best possible visual content. In terms of success, I’d say we’re only on 10%, We’re loading [laughs].

NWM: We’ve done a couple shoots with you guys, what would you like to say about that and other shoots your brand has been involved in?

Van: Yeah, it was definitely quite sick working with you guys.

Harvey: I remember, a photo shoot we had in barbican also, with a photographer named Ronald. I met him in my University, networking and promoting the brand.

Reynold told me he wanted to work with streetwear photography in the urban environment. I told him I’ve got a creative director I could connect him with Harvey: That was our first campaign!

Van: Yeahh, I would say that was our first campaign shoot. It was great working with Reynold…The way we’ve met with and worked with the people we have, it has all been so natural, no need to outsource too much. But like I said, with this new collection, its just bigger and better.

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NWM: Before the connections you made, how did things like photography get done?

Van: When we first started, I was doing all the photography, all the campaign stuff. Overtime the work load became too much so we had to delegate it. What we’ve learnt is that if someone can do the job better than yourself, let them do it.

Harvey: Not to say that Van wasn’t doing a great job, but sometimes its good to divide the workload for quality assurance.

NWM: the first-time you guys had your clothing in person, how did that feel?

Van: Oh my days, you know what it was?... when we started it was so unreal, we just had a vision, an idea. The first time we met our manufacturer, whom we work with very closely with our hem labels, ties etc, we took a 3-hour trip, right? [looks to Harvey] Harvey: Yeah, a 3-hour drive.

Van: We met with them and told them exactly what we want and once we actually received it, that’s when things became real for us, to actually feel our clothing. It was literally something else.

NWM: What would you say about having a vision and having the ambition to accomplish it, without any physical reassurance?

Van: As a creative director and the person that I am, I Envision things often and overthink quite a lot. I usually have a vision for an idea before I’ve done it. There have been so many times when I’ve told Harvey about an idea I’ve had, whether it be for Instagram or something we need to do visually to take us to new heights, new levels.

Harvey was a little weary at the beginning, then after we executed what I wanted to do, it showed. Overtime Harvey got to be able to trust in my vision.

Harvey: Yeah for sure, I think what really makes our vision work is me being able to communicate all the elements of the brand and van being able to take that and provide a message and concept behind it, through visual imagery and illustrations.

NWM: What improvements within the brand have you guys made as of yet?

Van: Before we started the brand, we had around 6 months of planning, that’s something people don’t really know. The reason why we did that is because when we wanted to start, we wanted to make sure we could start at the highest level of quality first.

Harvey: We didn’t want to start it as another typical fly by night brand Van: Quality was our main focus, that’s the reason why from the beginning, all our clothing is 100% cotton. We’ve made sure to pick the best materials and with all our visual campaigns we make sure we work with highly talented photographers or videographers.

NWM: We would like to know more about your relationship with each other and how you perceive one another. Harvey, what does Van bring to the table that helps the brand personally and professionally?

Harvey: Professionally what Van brings to the table is his creativity, his ability to envision and execute.

Personally, Van has been a close friend since year 7.

Van: You might as well say we’re related.

Harvey: Exactly, we understand each other very well, that personal connection is there as well as the business connection. Our mind sets, and ways of thinking make it easy to work with each other. We kinda think alike.

Van: For Harvey I would say he’s a marketing genius.

He has put himself in so many situations where he meets people- I used to wonder “Bro, how do you do this?”. There was a time he bumped into JME and had conversation through twitter. He does a lot of word of mouth promotion and putting himself into position to meet these people physically also. With Harvey, that’s actually his degree, I think for him its something he has been used to doing anyway, the way he has executed his promotion of the brand is what has kept the structure together and has turned what we do from a brand to a business.

NWM: would you say he is next in line when it comes to the men behind the brand?

Personally speaking, we’ve been friends for over 11 years, those years can’t be made up, a that point you stop being friends and you become brothers. That’s the reason why we’re both business partners, we’re both 50/50 co-founders. Me and him aren’t just business partners, we’re close friends before that.

We’re brothers before that.

Harvey: We give each other that motivation and that extra push.

Van: We are all one big team, whether its us as Alantic Glo, B Joux with the music, Wave 96 with the production, New Wave as a design Studio. We have literally created one massive team. In terms of B Joux, we just support everything he does. From the beginning up until now and visa versa.

Van: Another thing is that we critique each other a lot! Its always important not to surround yourself with yes men. We always make sure that we’re putting pressure on each other.

Harvey: We are that harsh and we’re that raw when it comes to giving feedback to each other Van: B Joux has given us a lot of constructive criticism that has helped make the brand what it is today. Whether you’re a CEO or whatever title you hold, you have to be able to take criticism.

NWM: In terms of the brands transition from where you are now and where you want to be, what are some examples in the fashion industry you look to?

Van: I would say, personally someone I’ve always looked towards is Virgil Abloh as a creative director. The only thing is as a creative director you have to have your own sauce, your own vision, your own sort of design style. I feel like I have my own and that will be able to be showcased very soon…

Samuel Ross also. (A Cold Wall Creative Director) NWM: So, Harvey are there any Marketing ideas or Branding concepts you admire?

Harvey: I’ve read many of books and they have shown me a lot of strategies which are suitable for brand exposure. I’ve been able to take that away and execute it through my own brand.

There have been Nike campaigns that have inspired me to do something of my own. The ‘Just Do It’ Campaign has been able to inspire the youth with that message.

We have our own key words and phrases that can be associated with us also.

NWM: Can we talk about the new summer collection coming up?

Van: Errm…I would say, it’ll be nice for people to wait and see. I would like people to see the new transition.

Everything that people think they know about Alantic Glo now, its literally just the tip of the iceberg. The vision that I have is coming. It’s going to be different.

Its gonna create a shake in the game within the fashion industry, Its different.

-Derrick Odafi, New Wave Writer/Editor

A little black girl With bright eyes In a little red dress,

A Windrush Empire of people

Fixes her gaze upon

Dressed in their Sunday best.

The digital image of a woman,

An image of church hats,

This is an ode to black women who

With ebony skin like hers

Ironed skirts,

Walked in legacies

Deep dark eyes like hers

Sensible shoes,

Too weighty to bear,

With a nose and 4C hair,

Handkerchiefs pressed tightly into palms.

Who strove to beat the odds because

Just like hers.

Growing up they had to beat

Who sings soprano symphonies At the BBC Proms, Like it was with within Her own very lungs That nightingales first learnt the Sweet sound of song.

A little black girl In a little red dress, Watches as she sees herself

Every rod of injustice, Forward looking foremothers, And every knee scraped Who in their self-sacrifice Was another hurdle overcome.

Were the bricklayers, Building brick by precious brick This an ode to William Brown.

On foreign land, First black woman sailor To make houses that we could call To set to sea as part of Our homes.

The British Royal Navy.

They were the pilots who An ode to Mary Seacole.

Manufactured wings

Reflected in the image of her inspiration.

A nurse now famous we find And on being told would never Delivering first aid to soldiers Touch the skies,

And so, this is an ode to black women.

Black women who like water Wade over cracked ground,

On the frontlines, Dared to dream, And a healing touch to those And then taught themselves to fly.

Whom the Crimean war Left behind...

Softening the earth With a resilience unbound.

Pouring water onto the seeds of tomorrow, Way before tomorrow came around Thinking it could bury us.

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-Princess Peace

Photography By George 110

At this point in her career, many have been introduced to the ‘Keep it G’ queen, IAMDDB. 113

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AMDDB is a singer, rapper and producer from Manchester, North England from Portuguese and Angolan decent, through her mother and father respectively. The authentic artist that she is focuses on portraying urban-jazz using her fresh and mesmerizing sound. The acronym ‘IAMDDB’ is simply short for ‘I am Diana DeBrito’. IAMDDB explains her stage name by saying, “You be you but vibe to me,” meaning her supporters and listeners should correspond with her music from their own perspective.

IAMDDB has loved music since the young age of three and lists her father as a prominent figure who helped her musical growth. She took a trip to Africa in 2015 with her father for 6 months, this musical and spiritual journey inspired IAMDDB to make some significant changes. She decided to change her stage name and personal style which later influenced her progression as an artist.

IAMDDB took the industry by storm in 2016, releasing her EP titled ‘WaeveyBby Volume 1’ which included fan favorites such as ‘Childsplay’ and ‘Ur Highness’. This EP was distributed by multimedia production company Beatphreak and sparked the energy that would bring IAMDDB to this point in her career.

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When explaining the beloved track ‘Childsplay’ IAMDDB mentions the vulnerability behind the lyrics. This song is the portrayal of accepting vulnerability and not being ashamed to put your ego and pride aside. IAMDDB continued to demand our attention in the year 2016 when she released ‘Leaned Out,’ and impressively the visuals received over 6 million views. Many fans gravitated to this track due to the wavy lyrics, unconventional sound, eccentric feel and effortless vocals. IAMDDB has formed a strong fanbase and conveyed this captivating and intriguing urban-jazz genre through her music whilst keeping it as real as possible.

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In the middle of 2017, IAMDDB dropped the EP ‘Vibe Volume 2’ and later during the year released ‘Hoodrich Volume 3’, both projects supplied listeners with the renowned tracks ‘Pause’, ‘Back Again’, ‘More’, ‘Trophy’ and the song sitting on over 10 million views on Vevo, ‘Shade’. The projects solidify IAMDDB’s consistency, and ability to continuously produce soulful vibes. Throughout her projects we hear the influence of jazz coupled with a young, current and urban sound. The EP ‘Vibe Vol. 2’ IAMDDB expresses herself as being a free-spirit, and young woman who has dreams and aspirations. IAMDDB expresses how she “keeps it G”, by constantly moving and continuously grinding. ‘Hoodrich Vol. 3’ provides listeners with an integration of jazz, soul and trap, following on from her last EP ‘Vibe Vol. 2. IAMDDB continues to express similar vibes with a more hyped and savage approach, the sound resonates more with jazztrap.

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The three volumes are IAMDDB’s evolution and her story depicted through various genres.

IAMDDB undoubtedly is comfortable with who she is, and this is expressed through her delivery on every EP. She is unapologetically Diana DeBrito and throughout her projects we are exposed to her multi-faceted talents.

This young and fearless vocalist has accomplished so much within a short time-frame. IAMDDB recently supported international acts such as Bryson Tiller and Jhene Aiko on tour. She has collaborated with Red Bull Music to stage four concept shows in four UK cities including Manchester, Birmingham, Bristol and London. The shows will be centered around a specific theme providing unique experiences for all four cities. IAMDDB was awarded ‘Worldwide Breakthrough act of 2018’ at the Gilles Peterson’s worldwide awards. It is clear to say that IAMDDB’s capabilities are endless!

BBC 1xtra also listed IAMDDB as ‘Hot for 2018’ and Vevo dscvr listed IAMDDB as a ‘2018 artist to watch’. We can rest assured that IAMDDB is not slowing down anytime soon, and 2018 will be a successful year for the jazz infused vocalist.

-Daniella Francis, New Wave Muic

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Visuals by Derrick Odafi

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Wave96ix is formed of ‘Ab’ and ‘Frosty the Producer’ who are a producer duo from the East of London. The duo has been friends for many years, and within those years have found that their musical talents compliment each other. Ab’s experience with using digital audio workstations and Frosty’s ability to play numerous instruments makes this duo work. Their musical background, being quite dissimilar, allows the duo to curate music that appeal to many.

Even though, this duo have their differences, their similar musical and creative direction allows this duo to work cohesively. As individuals their thoughts, ideas and concepts align together allowing this duo to be in sync.

Their latest productions include ‘Ace x MV – Naija Ninja’ and ‘MV FT. Razr Ramone – Dream’. The duo is also currently working on a project with the up and coming artist B Joux which will be released sometime in 2018.

Wave96ix are consistently working and creating, we can guarantee this duo is here to stay. Their creative flare, musical knowledge and willingness to bring a different sound will lead this duo to reach new heights.

New Wave Magazine has had the opportunity to sit down with Wxve96ix and, get to know this duo on a personal level, diving deeper into their musical productions, ambitions, opinions and much more!

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NWM: How are you guys today?

We’re alright thank you, nice to finally sit down for this interview NWM: Excellent, please tell our readers about yourselves and when you guys meet Oh okay, well I’m AB I’m Frosty AB: We meet in secondary school, Sydney Russell in Dagenham, East London.

We’ve been bros since then. I think Sydney Russel had a big part to play in our music careers. If it wasn’t for Sydney Russell, I don’t think I’d be interested in music like that…The music department was very solid.

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AB: His strength is the chords. He’s a church guy, he plays the keys in church…he doesn’t look like a church guy though [laughs] He’s a Gangster for life [laughs] NWM: How did your musical backgrounds help you guys in the beginning?

AB: with him being in the church environment, the keyboards came naturally to him. I know my way around logic, which is the software we use. I have musical direction, why don’t we combine with each other? [I say to frosty] Play these chords and I’ll put it together with my drums and we’ll make a beat. It was like that…just natural.

NWM: Frosty, do you play any instruments outside of the keys?

Frosty: Yeah, I’m basically classically built. The first instrument I learnt was the trumpet, something I picked up in school AB: I played the recorder [laughs] Frosty: He[AB] is more of a DJ, he’s really technically based. This whole thing [logic software] I leave it to him a lot of the time, I know my way around it but not to the same level as him.

NWM: How long have you guys been practicing on logic?

AB: I’d say year 8, I started in primary school but that wasn’t with logic. That was with Audacity, Reason and stuff like Fruityloops as well. I wasn’t really serious about it, but when I met this guy and when I was aware of what we could do I was like nah, let’s take this somewhere.

NWM: So where would you have access to these programs?

AB: We used to go to the music department before registration, first break, second break and after school.

We would leave school around 5:30-6, and that was since year 8 till 6th form.

Frosty: And back then, no one really wanted to jump on our beats.

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AB: Yeahh, Yeah, because they were whack [laughs]…the beats were whack but we had to start from somewhere.

NWM: How would you describe your beats before?

AB: They were childish man…

Frosty: you know what it is? For our age it was good.

AB: Nahh man NWM: do you think it was also to do with you guys coming together rather than producing alone?

Frosty: Yeah, I think it took a while for it to mesh AB: Yeah, I guess it was that as well, yeah.

NWM: So, at what stage did you guys realise you really had something?

AB: We realised early, but it was from year 10 we were like yo, next year we’re about to do our exams[GCSEs] then go to college, soon we’ll be graduating from university. What do we really wanna do with our lives, you know what I’m saying?

We’re not really 9-5 guys. Although we’re smart, not to brag or boast, but I’d rather be in an environment I enjoy. I’d rather wake up every morning knowing I’m going to do something I love.

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NWM: Why do you call yourselves Wxve96?

AB: Before, we were called JM Beats, He was Junior and I was called Mr Man [Laughs] A lot of people knew me by that because I was DJing as well. That was in secondary school. During University, when we reconnected it was FM Productions. We thought it could work because of the FM radio connotations. He had changed his name to Frosty and by that time I wasn’t feeling the name Mr Man, so I was gonna call myself ‘Wave96’. I made an Instagram by that name for myself. Frosty was like nah, lets make that our group name.

NWM: That a lit name AB: Yeah, we’re wavy guys, not to brag or boast, we feel like we’re good at what we do, and were both born in 1996 as well.

I threw ‘Mr Man’ out the window and changed my name to AB, my real name is Albert, so it made sense.

Frosty: Now he’s AB the creator.

NWM: In terms of your chemistry, do you guys have to go through experiences together which is then shared through your production?

Frosty: I think its communication. Its not just us two.

There’s a whole group of us. We’re always talking, we’re always doing things together, we always make sure our ideas are put together.

We haven’t come up with a name for ourselves like that but were always together. Mainly because of that, Me and AB have always kept in touch and vibe with each other.

AB: That the reason why God put us together. God wanted us to meet each other and bounce off each other from early, so that way we’d grow and flourish.

The experiences we’ve been through, its been mad.

Frosty: There’s no one id rather trust, other than AB anyway AB: Trust, its natural.

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NWM: Can you briefly explain how you guys come up with a beat or produce something AB: its depends, we don’t have a set formula, I don’t know how to explain it.

There’s days when he will come up with chords first and I will work with him from the chords. Theirs days when I would start with a drum beat. I don’t know, it depends.

We don’t eve plan to make a beat.

NWM: Do you feel like artists appreciate this?

Frosty: Personally, I feel like certain artists discredit producers because they don’t have a name yet. And I feel that’s what has happened in our case. At the end of the day, we’re just tryna make music NWM: do you produce for a particular genre of music?

AB: Nah, it depends on the artist

Frosty: The way we work that’s best for us is to have the artist there as well. We know what energy the artist is giving us, then someone like me comes up with the melody.

NWM: How do artists usually approach your process?

Wave96: Every artist is different AB: some artists tell you, I want a song like this or that. For some artists you have to bring it out of them, you have to bring the vibe out of them.

AB: We’ve done Hip hop, Trap, Drill, RnB, House, a lot of stuff man.

Frosty: and there’s two of us so why not.

NWM: What do you prefer?

NWM: Can you guys tell us about your relationship with B Joux?

AB: I don’t mind, as long as we make something by the end of the session, good or bad because I know whatever song it is, we’re gonna progress.

AB: B Joux’s the guy fam. If you saw B Joux and the start and hear him now yeah? Oh my days.

One thing about us is that we’ve developed a lot of artists.

Frosty: Big Transition

Frosty: A lot of artists that have come into our hands, they weren’t the best at the start. The way I look at it, we’re more than just beat makers. The way we work, we want to be more ‘hands on’ with the song, we learnt how to sound engineer ourselves, we learnt how to mix music ourselves, were gonna be fully hands on.

NWM: Is that how you guys are working on this new B Joux x Wave96 Project?

Frosty: With B Joux’s album, obviously we’re gonna produce it and in the end we’re gonna be the ones to mix it down, so it’s a full inhouse job. The way I see it that’s the perfect scenario for an artist and for us, it’s worked.

AB : Working with artists, I believe in energies man.

I believe in energies a lot.

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Frosty: That’s why I said we’re not really beat makers, they’re trying to work on how good the actual beat is. At the end of the day, we’re trying to make sure the whole song bangs. We don’t wanna limit ourselves to one genre

AB: I remember he would come to the studio during sixth form times, he wasn’t all that, but I could see a fire in him that wanted to make music.

Frosty: back in the day when everyone would make music, B Joux would jump in and everyone else would be like “Maybe Next time”. [laughs] Now with every beat, he’s killing it, most of the records we played you guys were just freestyles NWM: That’s crazy Frosty: Through that we’ve managed to make a whole album.

AB: our relationship with B Joux is beyond physical man. Its more spiritual than anything. When we’re working with him, its one of the best things ever.

NWM: Were there any funny moments in the creation of the project?

NWM: what are your favourite songs on the album?

B Joux: Can we take a pause, haha [laughs]

Wave96: WTF

Frosty: More time, these guys often catch me sleeping. I’m always up and I don’t know when to rest. These guys have to tell me a lot of the time. “you’re doing a bit too much, you’re doing the most.”

AB: It’s a song called Why The F*** you calling my phone? I think that song is so hard.

I was chopping up a sample and as I was making the beat, B Joux was already freestyling so that encouraged me even more. If you listen to the beat, theirs not much going on. Its so simple. What he’s saying on the song is what carries it. Everybody can relate to that song

[laughs]

Alot more happened but we’ll keep that to ourselves [laughs]

Frosty: No competition as well. That’s such an angry song. I love it.

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NWM: What accolades do you guys aim to achieve?

AB: One thing I’ve always wanted to do is creating a score for a movie. I used to write different scripts as well and I used to imagine some of my beats in this movie I’m creating.

Another is working with some of my favourite rappers.

Like Nas. I need to work with Nas, before he dies or before I die.

Frosty: The main thing I want to achieve is getting to that stage where I have produced everything. I wanna get to that global stage where any track we do, no matter the artist, as long as the song bangs it’s out there.

NWM: Where do you see yourselves in a years’ time?

Frosty: I just see us doing the same thing we’re doing now, just putting out music.

AB: At a higher level though. I want my artists to be the guys. I want B Joux to be the guy that everyone is listening to, I want MV to be the guy everyone is listening to, Ace as well. I’m not really too fussed about working with other artists. That’s something I can see happening in the last part of this year, leading to the next year.

NWM: What advice would you give to all creatives?

AB: You need to stay consistent and understand your craft. You need to understand why you like it. You need to understand why God gave you the gift. After that, just keep on practicing and network with other people in your field also.

Frosty: I always say, your enemies are always practicing to kill you, so why aren’t you practicing? You’re always trying to make yourself better, if your trying to make yourself better, someone is out there doing the same thing.

AB: You’re only in competition with yourself. Don’t look at anybody else’s lane.

NWM: We appreciate you guys for your time Wave96: Likewise, sweet.

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ouse of Pharaoh’s (HOP) team are made up of talented individuals that possess various elements of creativity and poise including singers, dancers, actors, models and much more.The South London based group are made up members including: Mally Chinks, Sam wise, Aj, Nyshy Bandana, Talyor, Dre, G-lo, Melouski, Stilly, Danny stern, Blaze & Nehru. Each individuals has their own unique flow/ style that they bring to the table which is vital to the team overall.

Some members of HOP were already friends through school whereas others met through connections where HOP has tried to incorporate a group of like-minded individuals who are diverse with their creative aspects.

Their rise in the UK music scene has been nothing short of astonishing, HOP have been co-signed by US artist Frank Ocean, displaying the sort of upward trajectory they have had. In 2017, Frank Ocean played their imaginative single “Run With Me” on RADIO 006. A youthful vibe comes through in their energetic new hip-hop/drill hybrid “London’s Finest.” To be recognised by a well–renowned artist overseas speaks volumes of the talent that the ‘House of Pharaohs’ team hold. House of Pharaohs have been compared to New York group ‘Asap Mob’ due their style and multiple interests.

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House of Pharaoh’s feel that their ‘free spirit’ enables them to connect to each other as well as being comfortable to express themselves around each other, this energy gives them the platform to build upon.

They also believe that the best part of being within this group is learning off of each other, this also makes them stronger as they feel each member helps the other improve. In addition, the fact that they remain so close-knit even filters through to their music which provides them with the energy that they bring into their music. Although they are such a strong group each member has their own creative project outside of HOP which makes the lasting power of the collective nearly impossible to deny.

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With the multitude of talent in this collective it is only right that we breakdown what each member contributes to the team, each member of the House of pharaohs has ambitions to rule over the rap scene. Unite and conquer...

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Sam Wise: It can’t be stressed enough how much Sam Wise gives a Lil Wayne vibe with his dreadlocks as part of his rockstar/ rapper look. Sam Wise’s name says it all with his lyrical wisdom and the way spits so effortlessly which proves his natural talents.

Sam Wise can switch up his flow when the situation arises on any instrumental.

His flow can be compared to that of Rich The Kidd, howerver, Sam Wise’s lyricism is top notch whenever he is on the mic.

Bandannaclips: The energy that Bandannaclips brings in every track he is in always adds that little bit extra to every track he is in. The solo records ‘Go Get It’ and ‘Wake and Bake’ also give a ‘Rich The Kidd’/Famous Dex vibe with his flow and the look he has can also draw comparisons to Wiz Khalifa.

In one of HOP’s top tracks ‘Run With Me.’ Bandanna brings balance to the group with his liveliness especially at HOP live shows.

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Danny Stern Danny Stern’s voice is tailor made for music as he possesses a raw voice that can is also beneficial when utilised, e.g. ‘Backseat’.

Danny Stern displays his lyrical ability and his crazy flow such as ‘Mean Muggin, ‘1:11’ and ‘Southern.’

Danny Stern can also add melody to his repertoire, for example, in Backseat where he is on the hook.

Kevin Taylor Kevin Taylor is calm and collected on the mic as shown in the tracks ‘Take Flight’ and ‘Backseat’ but shows his versatility being deadly with his bars on tracks such as ‘Mean Muggin’.

Kevin Taylor definitely posesses a ‘Chiraqdrill music’ vibe which is shown the HOP Tim Westwood Crib Session, this where he really expresses himself, flowing lethally on a variety of beats.

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AJ AJ supplies balance to the group. AJ starts off the track ‘Southern’ wonderfully with the opening verse, illustrating his lyrical capacity.

However, AJ demonstrates his ability to carry a song on his own with his 3 track solo playlist ‘White Day’ which can be heard on Soundcloud. This project allows him to express himself outside of the collective and rap on a deeper level.

Blaze Moneyman Blaze YL is a very talented prospect who has underrated solo tracks such as ‘Hit A Lick’ and has a similar style/flow to that of UK Loski from Harlem Spartans. In the group, Blaze is certainly one of the members that bring a UK vibe to the group with his drill music type flow.

Blaze YL is also showcases his talent on the Tim Westwood Crib Session where his shows he can switch up his flow for any beat. Blaze YL is ever present in tracks such as ‘Take Flight’ and ‘London’s Finest’.

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These individuals have come together to produce records that have sky rocketed to hundreds of thousands of views on YouTube and millions of listens on Spotify. One of these records is ‘Take Flight’. The hook on this particular track really draws me in as it points to the fact that perhaps people thought they wouldn’t get to where they are at this moment in time, however, they have really taken off ,‘thought we’d never fly but now we’re flying….’.

As for their plans for the future, just remember to look out for HOP projects such as their EP ‘The Fix’ which is out now. HOP are undoubtedly trend setters and we really hope they can tap into their creative minds in order to supply us fans with more of what we love from them.

Ultimately, House of Pharaohs aspire to develop a production company called ‘HOPE’ which stands for House of Pharaohs Entertainment – with this company they have a vision of cultivating a new way to create music, they wish to do so while retaining ownership and to be nothing less than their exact selves. Their path is not just music, their path is due to influence culture in the UK and beyond.

- Seun Lasile, New Wave Music

It is amazing how far HOP have come in such a short space of time as they are now selling out shows, been featured in the recent Nike ‘Nothing Beats a Londoner’ advert and are mentioned in the scene next to rising rap groups in the country such as 808 Ink and Neverland Clan.

However, more people need to know about the creative House of Pharoah, they are all unique individually but as a group they just have certain aspects that make them different, for example, beats that they use of their tracks and how it’s difficult to identify which member is better because they are all so comfortable on the mic Photography by Tommy Francis 136

If your looking for a record to lose your mind to in a mosh pit, at a packed out show, ‘OH YH’ is specially delivered to you by B Joux and the instrumental. The looped melody of the beat provides an enchanting sound supplemented by the rattling hi-hats for B Joux to get the party rocking on ten! As one of the most popular records he has released thus far it is not difficult to see why. The infectious hook forces the listener to get active. So far with this project B Joux is letting his audience know that not only is his music ambitious but a go to when its time to get turnt beyond belief, meanwhile telling us about his grind for the check and not the fame.

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Joux, an artist from the east side of London released his debut project ‘Progress’ on the 28th of February 2018.

This project puts the 22-year-old artist firmly in the Industry, displaying his versatility and his melodic prowess with lyrics that inspire and force a mind frame of reflection and motivation.

The project begins with ‘The Greatest’. On the first record on his first project B Joux is staking a claim for the ultimate honour of being recognised as the greatest, speaking his potential into existence and pondering the end of the journey where he wears that crown. He does this to an up-tempo bounce of the instrumental, simple hook that fuels the listener to ask the question of themselves ‘When will they say I’m the greatest?’. The hard hitting record with the energetic adlibs speaks to motivation and vision of the future. B Joux carries the energy of the record into his first verse, switching up his flow and expressing the time and energy he spends on his craft to get to the position in the game he craves. Definitely a strong start to the album that would eventually take many different paths.

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Immediately after giving the listener the perfect record to bump in the whip at night in a gated community with the top down, he slows it down to set a vibe that would be evident in a few other records on the project.

B Joux shows off his melodic versatility that prove to be one of the strong points of this album. The synthesizers on the instrumental coupled with the euphoric sample set the tone for this record for B Joux to recollect about is encounters with a female that always fails to check the tag.

Money Bags is an ode to those that tirelessly search for the ‘bag’. B joux raps about being on the cusp of getting to the life changing check.

He raps “flooded, Bessel that’s my premonition/ tell these n***** use your intuition”, on this project B Joux continues to display a mindset of being a futurist, he has a vision that is due to come to fruition. Another record that gives this 10 tack album a psychedelic mood, which is consistent throughout.

The album transitions into ‘Illuninati, a record that maintains a mid-tempo feel and the first story telling record on the album. B joux details a scenario that can potentially taint the integrity of an individual. The title of the record refers to the secret society famed for turning individuals to the dark side for whatever their heart desires.

B joux repeatedly sings the phrase “(I) Know you got a soul, I hope you don’t lose it”. In the first verse he speaks in first person about his active lifestyle, partying, and socialising. In the second verse the story takes a dark turn as he raps about a young boy in the streets, in unfamiliar territory and gets into an altercation that end with his opponent dead, B Joux therefore describes how this later forced this individual to become arrogant and careless, losing his soul to his ego.

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The instrumental of the next record ‘Ego’ continues the psychedelic feel, a kaleidoscope of sounds that B Joux uses to find clarity in his thoughts and study himself. In this record B Joux speaks to relationships, his relationship with Alcohol and his relationship with women. He dissects the reason why his relationships always end in a hurry and puts this down to the immaturity of the women in his life till date.

Although this may be his ego speaking, not allowing him to take responsibility for his part in the situations he has found himself.

He raps about fining clarity through being sober, saying he has learnt that a clear mind breeds clear decisions. A sombre record that plays out and acts as an introspective buffer between Crew and his third single off this project ‘Go’.

Next is one of our favourites on the project, ‘Crew’ an enchanting and melodic record that carries a consistent vibe throughout, proving it to be one of the strongest songs on the project. The adlibs are precisely placed to add an extra layer to the harmonies of such an outstanding record.

In the first verse B Joux flows over the airy instrumental about a female that’s down for anything with the squad, and even in a time where she’s doing all she can to grasp his attention all he can think about is chasing the money. B Joux harmonies about his need for money more than love, and the fact that this female isn’t the one for him and they both know it. Definity a record with an unlimited replay value.

‘Go’ has a feel to it different from all the other records on the project, Here B Joux uses all his strengths within music, from Melodies to inspirational lyrics to give the listener a sound track to chasing their dreams. The flow switches in this record and infectious hook make ‘Go’ another quality listen and one to check out visually as B Joux’s first video.

B joux therefore closes the album out with three records that seamlessly intertwine with each other in the way they feel and capture the listener, ‘You Know’ being the pick of the bunch, another melodic record that forces a second, third and forth listen. He continues to speak to his ambitions and mindset of not being stopped and assuring the listener of his path to being recognised as a powerful figure in the music industry. B Joux has been quoted saying “I wanna be the best, the number one artist out”, to him its ‘God’s Plan’.

Progress is a consistent listen from start to finish, a concise project that gives the listener many facets of B Joux as an individual, in his mind state and his skill on the microphone.

Progress is an experimental project that garners great interest for the next project he has to offer. A definite 4.2/5 -Derrick Odafi, New Wave Writer/Editor In Chief 140

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emories Don’t Die is the second studio album by the Canadian rapper/singer Tory Lanez. Released on March 2nd, 2018. The album has been surrounded by numerous releases from other artists so it’s a good time to take a look at what it brings for those who have been sleeping thus far. This review is wake you up from whatever slumber you’re in and let you know if this is worth a listen.

Talent don’t die Getting right into it, this album has a LOT of great tracks, which if you’ve heard anything of Tory’s earlier work is no surprise. Not only are there tracks great but they vary in sound and style. This album shows once again how versatile an artist Tory is. The opening tracks “Old Friends x New Foes” and “Shooters” kick off the album with thumping bangers that’ll have your grandma bopping her head. Laced with quality production, Tory delivers solid bars that reminds everyone he can spit with the best of them (if his freestyles weren’t enough to convince you.

Seriously, check them out).

Tory also delivers a sleek sexiness in this album with gems like “Dance for me” and “Connection” which have silky rhythms and beats to set the mood right. Both of these tracks in particular have solid features from NAV and Fabolous who deliver some nice verses that certainly add to the songs.

In addition to the sexy sounds that Tory brings, there’s definitely a lot of summer vibe songs here which is no surprise as there is dancehall sounds all over this album. These songs don’t have a lot going for them in terms of lyrical content but I’m sure the intent was just to give listeners easily accessible songs that they don’t have too much in them to digest.

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Tory does have a spark of great lyrical content, which is my highlight of the album, in the song “Pieces” featuring 50 Cent. This is the type of deep, introspective song that Tory is capable of and was present all over “Lost Cause” – his 2014 mixtape.

Here he raps with two perspectives both connecting to a brutal ending to the track, 50’s verse is a perfect match from the song as he adds to the grittiness and heartache that the track carries. Tory can make a lot of songs, but it’s songs like this that I find really engaging and feel he needs to make more of.

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Structure does die For an album, it’s good to have versatility in the songs - especially the longer an album is, so the listener is engaged throughout.

Memories Don’t Die delivers on this but without any real cohesiveness. The album feels like a splatter of different sounds that doesn’t connect throughout all 17 tracks, yet lacks the ‘playlist’ style that Drake’s “More Life” spouted.

This really hinders the structure of the album having you feel like it’s an amalgamation of Tory singles. Overall, the album is certainly a step up from the previous project “I Told You” with much less useless skits, but Tory can do much better Although Tory displays his aray of talents in this project, the lack of cohesivity gives the sophmore offering a 3/5 waves from me.

- Chuck Ononkwo, New Wave Music.

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One aspect of Rich The Kidd that no-one can dispute is his work-rate since he came on the scene. Some may think he never sleeps with the amount of music he has in his hard drive.

Another characteristic to admire from Rich The Kidd is that he is not just known for his music but he is very Business minded. At 25 Rich The Kidd can boast about a lot of accomplishments he has made, Rich The Kidd has had projects with his former Quality Control label mates Migos, while having his own recent solo projects with mixtapes such as ‘Trap Talk’ and ‘Keep Flexing.’

The fact that Rich The Kidd is coming out with an album shows that he is evolving and is willing to grow as an artist. The features that have been integrated into this album makes the anticipation for this album high.

World is Ours The opening track of the album is a great start to the album. Rich The Kidd emphasises the fact that he had to hustle to get where he is at and that he started off with nothing. The title track is meant to inspire you to become whatever you want to be just as long as you put in the work. Just as Rich The Kidd states in so many of his tracks that he was ‘broke but now he has bands’. That’s why he states in the hook ‘get off your ass and hustle’ as this is the only way you can make it. Rich The Kidd has shown us with his work rate and with his own ‘hustle’ that the world can be yours.

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Plug Walk Undoubtedly, Plug Walk is one of the most popular songs on this album. The beat for this track is very catchy and is one those tracks that will definitely be played out in cars and in clubs as it has a ‘turn up’ vibe to it. The fact that there is a dance to the song shows that it is just one of those tracks that is a fun listen and that will be a hit in party atmospheres.

New Freezer New Freezer, just like Plug Walk, is a prevalent track that is another very fun listen. The feature

by Kendrick Lamar certainly adds more interest to the track for the listener. Kendrick requesting to be on this track makes it even more special.

The beat as well as Rich The Kidd’s flow on the hook draws listeners and it sees Kendrick Lamar deviate slightly away from his usual subject matter, to where he’s just enjoying himself but somehow is still effortless with delivery. Rich the Kidd held his own and both artists combined well to make a great track.

Too Gone This track involves another feature from singer, ‘Khalid’ who is a great addition on the chorus of the song. This track shows the versatility of Rich The Kidd, giving the listener a track you wouldn’t normally expect him to be on, but again his flow suits the track perfectly and him and Khalid really worked well together on this track. This is a great track and shows the Rich The Kidd can hold his own with anyone.

Made it

Small Things This solo track by Rich The Kidd is a track that is a more smooth sounding track. One things to admire about Rich The Kidd is that he doesn’t stray from his normal sound but he can adapt to different beats and tailor his flow/sound to that specific beat without sounding like anyone else but himself. The play on words with the title of this track is quite humorous as the girl Rich The Kidd mentions in the track wants all these small accessories that are ‘small things’ but are very expensive. This track is ‘chilled’ and surely should be given a listen.

Summary Overall, Rich The Kidd’s debut album can be considered a fun listen as most tracks have great sounding up-tempo beats that compliment that artists that have featured on them. We know what Rich The Kidd can do own his own with his single tracks, therefore, it was good to hear how he held his own with more mainstream artists and it can be considered a success. Other tracks that featured artists such as Quavo and Offset from Migos. Chris Brown, Future, Lil Wayne, Swae Lee, Trippie Red are also good listens but are not stand outs on the project. However, it was great to see these artists on the album. I would give Rich The Kidd’s debut album a 3.5/5 just because it exceeded my expectations as I thought there will be a lot of repetitive tracks but many of the tracks were different and definitely enabled me to stay tuned in.

- Seun Lasile, New Wave Music

Rich The Kidd has already worked on tracks with his signee, Jay Critch, most notably in tracks such as ‘Fashion’ and ‘Nintendo’. However, Rick Ross making a feature on this album shows that Rich The Kidd is not taking things lightly with his debut album. This is another track with a sound that you just cannot hate. The beat has a vintage sound to it that makes you reminisce, Rick Ross’ flow fit the track to a ‘T’ so it was the right decision to call him for a verse. On this record Rich The Kidd and Rick Ross feel that they have made it as they have so much in finances to enjoy life.

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Trinity Home also known as ‘Tink’ is a 23year old singer/MC, most known for her collection of Winter’s Diary Mixtapes, as well as collaborations with the likes of Jeremih (Don’t Tell Nobody) and Kelela (Want It).

After signing with Timberland in 2014, it was thought that a debut-album would soon follow – however such was not the case. Despite a rocky two years, filled with constant negotiations and legal battles, Tink has returned – independent and ready to grace fans with some new music.

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In March 2018, Tink dropped her first EP ‘Pain & Pleasure’. The six-track Extended Play is a solid R&B release, taking listeners on a journey of two polar opposites – of which most can relate.

Pain & Pleasure kicks off with “On to the Next One”, setting the tone with a moderate tempo giving off an R&B-vibe from the get go. Keeping it safe, Tink sticks to her distinctive style (a mixture of rap and singing), easily switching up her tempo and taking listeners back to before she was dubbed ‘the new Aaliyah’. Tink dives straight in, touching on the difficulty of finding someone who is really ‘down’ for you. In the beginning things are going great but that soon changes; he’s giving her conflicted signs, keeping secrets and creepin’ on the low. She’s had enough and now It’s time for her to move on and find someone who will treat her how deserves to be treated. Tink’s voice, the lyrics and the instrumental weave together to give listeners a song that excellently reflects the experiences of so many. In contrast “Faded”, talks about the pleasurable side of being in love.

Drawing on the similarities between love and drugs. The lyrics effortlessly explain the intense feelings felt during the thrills of intimacy. Love is like getting high, it’s like floating with the clouds and when its good you never want to come down. This sultry track definitely points to the pleasure side of the EP. Transitioning into “Part Time Lovers”, Tink hits listeners with a sample of Xscape’s hit “Who Can I Run To”. The short track showcases more of Tink’s vocal ability with her soft and delicate rifts and runs. Drawing to a close Tink leads listeners through to fan-favourite “M.I.A.” and “Get You Home”. Both songs are an enjoyable listen, that might just have you boppin’ your head. Finally, Tink ends with the song ‘Signs’. Although not the best lyrically, Tink sticks with the theme of comparisons, relating issues with this guy to the negative personality traits associated with each zodiac sign. For example, she says “You’re bad for me like a Cancer, selfish like a Taurus”. At some points Tink seems somewhat disconnected, almost as if there is no real emotional connection to the words that she’s singing. The lack of feeling means that throughout the EP, some of the lyrics are not as good as her best work – for example her 2014 hit single “Treat Me Like Somebody”.

As a closing song this probably isn’t the best, however overall the EP itself works and gives off a smooth late-night-drive vibe.

If there any major criticisms, it’s the lack of evolution from Tink’s previous projects.

Any one of the songs on Pain & Pleasure could easily be transferred onto one of her Winter’s Diary Mixtapes. After some time away from the music scene, it would have been nice to have heard something different from her standard Winter’s Diary theme – perhaps even showcasing more of her skills as an MC. Even a feature would have spiced things up, making the EP more of an exciting listen. However arguably, Pain & Pleasure works to reintroduce fans to an old friend and deliver a sound more in line with the Tink that day-ones are familiar with.

Overall Pain & Pleasure is a pleasant listen. a 4/5 with moments that showcase her amazing talents. Gone is the upbeat commercial-pop sounding vibe (introduced by Timberland), rather in its place Tink brings back her old style reminding us of why she stood out in the first place. Although Pain and Pleasure is more solid than distinctive, hopefully with Tink now in the driver’s seat of her career we can expect some great music in the near future.

-Brigitta Ben Eghan, New Wave Music

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Naomi Nimoh is a New Wave Model that ceases the camera with her graceful silhouette and aesthetic.

She enthrall’s the frame in various ways, fit for any purposeor dynamic, whether that be a touch of elegance for a streetwear look or the grandeur necessary for an extravagant and stylish composition.

Her strength lies in her effortlessness infront of the camera, from a stern and alluring stare to a beaming smile, she is able to convey the vision that any brand or photographer wants to deliver. ​

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Aside from Modelling Naomi is a multi talented creative with an energetic personality to match. Her graphic designs are an element to her creativity that sets her apart. Not only can she be a vessel to delever a photographic message, she can also deliver a unique creative vision, evident through her artistic eptitude.

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In 1992, a little Black kid on a makeshift basketball court in Oakland, California disrupts his game to glance up at the sky.

Figuratively, he’s looking at the loss of hope, a departure represented by glowing lights drifting away into the night. As we learn later, those lights belong to a futuristic unidentified flying object returning to the mysterious African country of Wakanda. The young man was once told by his father that Wakanda had the most wonderful sunsets he would ever see, so he cradles that perceived vision of beauty through his darkest hours.

When he finally sees the sun go down over Wakanda, it provokes a haunting emotional response. The same emotional response will be felt by the viewers of one of this year’s best films BLACK PANTHER, directed by nonother than Ryan Coogler.

This film is more than just a superhero movie or action movie, no. From the cast to the editing and screenwriting, this film gave audiences all over the world old and young a purpose. The numerous battle sequences that are staples of the genre are present, but they float on the surface of a deep ocean of character development and attention to details both grandiose and minute. Wakanda is a fully fleshed-out, unapologetically Black universe, a world woven into a tapestry of the richest, sharpest colors and textures.

Rachel Morrison’s stunning cinematography and Ruth Carter’s costumes pop so vividly that they become almost tactile. You can practically feel the fabric of the hat worn by Angela Basset as it beams in the sunlight on the day her son becomes king.

The original brightly colored comics were honored in the set design and also in the lighting, and in the general look of the film. The urban environment was created digitally and inspired by African culture and symbolism. The lighting also created the Northern Lights intended to create the feeling of an expansive African landscape.

This sky is also visible in the daytime scenes.

There are continual allusions to the comic book version of this story and the movie remains true to it. There are also allusions to the comic books that created the background story for T’Challa.

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Analysed from a post-colonial perspective, the movie offers some conflicting images. On the one hand, it magnificently shows the disparity between Africans and African-Americans in mind and life, showing that the self-reliant African will come out with high morals, giving hope to the embattled African-Americans.

On the other hand, it has been described by some critics that the whole movie is written through the mind of colonialism. The country of Wakanda is depicted to be both highly advanced technologically, while still infighting among tribal structures, having mortal combat as a construct for succession. It has been discussed by writers like Patrick Gathara that this rather keeps Africa as the dark country Westerners made it look to be, rather than show a strong, scientifically inclined society that grew out of the prosperity. Others have critiqued the role of African royalty and aristocracy as the only redeemed characters, leaving the struggles of working class Africans unmentioned. The movie seems to walk a fine line between black empowerment and a concept that does not encourage white viewing, leaving critique of colonialism to the motivated interpreter. Between this conflict of troubling depiction of African society, free of Western colonialization and the strong depiction of black pride, the viewer of the movie needs to decide by themselves which one is more accurate for their situation.

The Black panther is a story of perseverance and compassion in the rise of T’Chala and his fall from grace through his battles with his long-lost cousin and nemesis Killmonger, played passionately by Micheal B Jordan. This is also evident in T’chala’s ability to fight a just war that protected his people but improved upon the beliefs of his father. Black panther is also a story of loyalty and betrayal as both the main antagonist and protagonist found these traits in people they may have least expected.

The complex themes in this film are executed in such a clever way that forces the viewer to feel on both ends of the spectrum.

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Another thing we noticed in the film was how well connected all the characters were to each other as though one could not do without the other, it was so well done by Coogler to the point that it was sad to see Killmonger, the villain in the film, die. viewers may have walked out of the theatre thinking “I wish he could have lived”, and this all because no matter how much you hated him you couldn’t help but understand where he was coming from clearly. We feel the MCU has done very well cosistently even in Captain America Civil War, the film that introduces the marvel audience to the Black Panther, finally when you realize the real reason behind the villains actions it puts you in a position that deep down wants you to see him get a second chance at life, which is great story telling and even better when put on screen.

Black Panther surely took the MCU to a new level which given by the global reception we’re sure put a franchise like DC in a very complicated position, even though they tried with their earlier feature film JUSTICE LEAGUE. DC have two of the most popular super-heroes of all time in Superman and Batman, yet they unfortunately have not been able to necessarily reach the levels that the MCU and Black Panther have reached. This movie has surely done tremendous things for the culture through bringing various colours and creeds around the world together and has really given filmmaking a new face to look at for years to come.

WAKANDA FOREVER! -Prince Dee Jr, New Wave Film 160

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The interpretation of the black woman in modern society has been one filled with a lot negative stigmas. When the unfortunately ignorant side of the world looks at the black race as inferior, what most of the world seems to forget is that the black woman wrongfully sits at the bottom of that totem pole, but with supernatural ability still finds her way to stand and be counted, constantly impacting the world in ways that only the most resilient people can.

A short poetic film by LAMBB addresses the idea of cornrows being renamed as “boxer braids”. This film captured me in a way I did not expect, for 5 minutes I found myself looking through a woman’s eyes, in ways that as a man I had over looked for a very long part of my life. This film not only draws attention to what the black woman is confronted by on the exterior but also internally. However, I am more engulfed by how the black woman is not being portrayed as a victim fighting for her right but more as a reminder of how powerful she actually is already and the rest of us need to catch up to this understanding universally, it is a strength that has been overlooked for years and years. It isn’t just the amazing empowering spoken word that catches your soul it’s the deeper meanings in the visuals that can take you to a place that you could never imagine.

Future First is directed and written by Naomi Grant and captured by Azeez Bello, they along with others are a collective of creative individuals who have come together to redefine the images of people of colour in media. The film begins with an opening sequence of 3 brown girls with 3 different styles and texture of hair, the music’s harmony and melody fades in with a pleasant but very empowering presence that both soothes your ears and still brings you into the visuals, at the right time with each frame. The static transitions in the first few seconds are done in a way that is so well in sync with not just the background music but it also echoes what is being narrated. We see different types of black woman with different hair textures, they embrace that beauty one thing I find very captivating is the use of lighting and colour that makes the images stand out in a way like they tell their own story of the black woman, a story of strength, struggle and underappreciated power.

Expanding on the use of lighting in this film, as a cinematographer myself I felt that how it is done is not only powerful but crucial for the story. There seems to be a high disregard of how it would make the the woman look complexion wise but more of how it is going to tell the story that needs to be heard of the black woman.

These two aspects of lighting and camera work are well put together as from frame one, there are images that are unflattering to the cast or that are added only because it looked good without a story to tell. Also, one thing I increasingly appreciate the more I watch this amazing motion picture is the consistency of the colours Red, Yellow/Gold and black. These colours are commonly known as ‘PanAfrican’ colours which fall in line subtly with the themes of the film. From a director’s perspective I was amazed and proud of how much thought has gone into the visual aspect of the piece. Most short films tend to focus on what looks good on camera also forgetting how much of a story the small things can tell as the storyline builds.

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The collaboration of Naomi Grant and Azeez Bello is a true example of when the Director and Cinematographer share a great and deeper vision for what they’re creating and it not just about being visually mesmerising [which it is] but also about the story told in each from when the black woman stand together in all black to when we see three black woman standing on a balcony dressed in Red, Gold and Black symbolising the strength of the African woman and her stance in the world.

These three ladies with flowing Afrocentric hair stand at a stairwell alongside a lady to the left with short hair. However, the most impactful element of this scene is in their attire, the colours in which they wear seem to work as a form of symbolism of their roots.

The slo-motion edit in the film gives such a tasteful grace of what it means to be a brown girl in this world, from close-up to medium close-ups of the Queens in their domain. Slow shift detour from a patriarchal society which structure has been upheld for so long is symbolised in the motion of each shot. The pace of the film is something very captivating, the narrative of the poetry is carried along by slow motion movements and longlasting shots, but in addition to that there are rapid cuts between these slow burning scenes which catch the viewers’ attention in a way that also tells a story. In addition, the formations the cast take help to aid the quality of the cinematography in an exceptional way.

Future first is a contemporary film which displays elegance and poise within the black woman, there is a togetherness that is consistent throughout the film. LAMBB see this film as a method of encouraging black women to reclaim their time, as society often tries to steal from them then decline them. This film creates beautiful scenes that displays a common thread that unites women across the world and is deep rooted in the culture of black women.

Not only was this film empowering and eye opening to the brown woman’s impact in the world, but it is a reminder that before the world sees a black man’s greatness, the person that sees it first will always be his mother the black woman.

So, in conclusion the black woman will always be the past present but most importantly the future.

- Prince Molife, New Wave Film 163

Growth and progression in your creativity comes by an unweivering willingness to achieve, develop and throw ideas at a wall till it forms an abstract painting. Don’t look over your shoulder in fear of what may not be achieved, look to understand how far you have come and how those creative experiences will take you into your element of supreme creative consiousness. We all create the architecture of our world, filming our jouney through our eyes and painting vivid pictures as we communicate our ideas. Stay fearless, It’s a New Wave and you are living proof of it.

-Derrick Odafi

Editor/Curator: Derrick Odafi Head Photographer: Charles Ogunmilade Fashion Consultant: Teresa Mwangi

Blue-Pencilers: Timileyin Adedipe and Derrick Odafi Writers: Derrick Odafi, Alantic Glo, Charles Ogunmilade, Daniella Francis, Brigitta Ben-Eghan, Seun Lasile, Prince Molife, Chuck Ononkwo, Aran Saleme and Princess Peace Thank you to the New Wave Team, Creative Debuts, Artists and Photographers

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