Danny Chavis of The Veldt | Matt Connarton Unleashed

0:00 Speaker 1: I had another great song from the VELT that is angel Heart. Let's see if we've got uh, I think we've got Danny on the line with us. Danny, are you there?

0:07 Speaker 2: Yeah? Hey? How you doing? Man?

0:08 Speaker 1: Hey? Good?

0:09 Speaker 2: Good? Yeah?

0:09 Speaker 1: Sorry about I don't know what was happening. It was like we were trying to connect with you before and the line kept dropping. But so I'm relieved that we get to talk to you because I, I really i'd never really listened to much of the Velt, and I've been listening to your music and I really love it, especially the new single black Girl. And but you guys have been You guys have been around a long time.

0:31 Speaker 2: Today will mark the sixtieth year.

0:33 Speaker 1: Man, you know, Oh my god, that's that's incredible. So you guys, so now now you and your your brother Daniel, you guys are twins. Is that correct?

0:43 Speaker 2: Yeah?

0:44 Speaker 1: So you're you're your parents actually chose to name you Danny and Daniel.

0:50 Speaker 2: Well, my os name, my OZ name is you know, you know, I still think that it's a different name. But I've been, you know, conditioned to be their way since since birth. Oh, I got you, Sam, it's if he's he's Christopher and Cornel middle names.

1:08 Speaker 1: Oh interesting, Okay, I mean because when I realized when I was reading about you guys, I was trying to figure out, now, who, uh who would do that to their to their twins side.

1:17 Speaker 2: No, No, we've been getting a lot, I can imagine.

1:22 Speaker 1: No, it's cool though. So now, so you guys when you when you released the new single which we did uh feature at the top of the show, Black Girl, is this is this like the first song after after how many years? Because again, you guys have have been around for that, as you said, a very very long time, longer than I realized. But has it been a while?

1:43 Speaker 2: I mean when I say sixty, we just turned sixty today, gotcha?

1:46 Speaker 1: Okay? So you so literally you guys, but you probably started making music at a very young age.

1:51 Speaker 2: I would imagine in nineteen eighty six, eighty five or something like that.

1:55 Speaker 1: Okay.

1:57 Speaker 2: Chapel Hill, North Carolina, and we you know, the Trio area was a was a was a good place for like hardcore music and punk rock. And they had a little scene over here. In our first show was with the band called Cursonal Conformity. You know, we had uh it's like a kid's matinee. Synk like that. I mean, you know, but didn't really do that anymore, like you know that that we know kind of kind of thing. But we came from that kind of the kind of the kind of you know scene back in the day opening for a cursonal conformity, like I said, so, oh wow, and we just didn't know and we didn't get the memo there was time to stop.

2:31 Speaker 1: So no, I'm glad you're still going now. When was so, when was the last time you released something? Prior to Black Girl.

2:39 Speaker 2: We released something on this label called Little Cloud called Entropy is the main Line to God, which we did during the you know, during the pandemic and whatnot. And it was a bunch of something that we had been writing during that time. So that was like the latest thing that we did. And but before that, we released something called Shocking as an Electric Fur, which came out like twenty I think twenty fourteen something like that. Okay me sixteen, you know, right before I toured the bran Jonestown Massacre.

3:09 Speaker 1: Oh wow, okay, okay, excellent, So can you can you talk about the song? And again we'll play it at the end of our conversation for anyone who missed it. I really like it. It's very I mean, uh, the first word this might sound cliche, but the first word that comes to my mind is atmospheric. But oh yeah, but can you tell us about the song and it's connection to does is it connected to the nineteen seventy two film Black Girl, if I understand.

3:32 Speaker 2: Correctly, yes, exactly, Yes, yes it is. Yeah. It was like, you know, we said, seen it back in the day, you know, and we thought, you know, what would be a good idea to have a kind of like a talk to a Twins kind of sounding soul song like that in which we kind of like, you know, you know, like that kind of vibe, you know, like some of these sounds and things like that we get from what we used to call the Quiet Storm on black radio, you know, kind of like it was the R and B moment and it was always on late night, like most of the black college stations play stuff like that, you know, Anita Baker, Luther Vandross and their theme was Welcome to the Quiet Storm.

4:11 Speaker 2: And then so we heard the song black Girl, and we thought it might be good, a good way to h you know, you know that kind of like replicate that kind of sound, you know, like kind of more like like a so called shoegaz sound, you know. And I say shoegates because the term came out a long time ago, before it was called you know, alternative, alternative, something like that, you know, space rock or you want to call it. But the term shoegaze, I put it lightly because I mean, you know, because everything shoegaates now, so you know, but a long time ago, you can even you can give it away.

4:43 Speaker 2: But yet the song, it's a screenplay by Ozzie Davis about a young black girl whose cousin comes home from from college and she's up against you know, the neighbor the neighborhood hood, telling her that she can't do what you want to do. And and it's kind of like effective about how we came up kind of like you know, you know, you grew up in a black neighborhood. You tell people you're playing music, they're like, you need to get a real job, so and so and so, and you're never going to make it, you know.

5:12 Speaker 2: So it's about a young girl who wants to go to college and be a ballerina, and you know, our peers don't really believe in it. But It's just another example of how you have to keep trying to you know, keep going, you know, despite your environment. You know. But yeah, man, we made it kind of in atereal kind of song.

5:30 Speaker 1: Okay, Yeah, no, I really like it. Yeah, yeah, no, it's it's really good. And it's interesting too because you mentioned being inspired by, you know, some of what you would hear on college radio, and that that really popped out to me because I'm a big Anyone who knows me knows I'm a big uh purveyor and fan of college radio. And you hear things on college radio that you don't hear in the mainstream. And I find that a lot of you know, a lot a lot of bands that or solo artists who have a sound that is unusual that you don't typically hear in commercial radio.

6:03 Speaker 1: It's it's very often a product of that person being inspired, you know, from a young age by what they would hear on college radio.

6:11 Speaker 2: Oh, Coprid has been been supportive. So that's back in the day too, man like, which was really cool because no, no more on else wild play our stuff or either like even acknowledge or even existed, man, you know, yeah, the gatekeepers, the racial stuff, man, It's like there was always a big part of like, you know, why we haven't been out because you know, we've been into so many obstacles. But that didn't really stop us though, because we always thought that the music would prevail, and ironically it did prevail.

6:36 Speaker 2: So you know, despite you know, all the racial stuff and whatnot, you know, absolutely we just came off the two of the comedians and there's a lot of love idea. Man in the United States. I think that the press and the media kind of ruins the idea about how America is, like, you know, a hateful place to be. But you know, I can't really say that because we got so much respect and love from people in the in the crowds when we came to play with Communions. You know, they people who love the Cocktail Twins and love the so called Shoegaates band like slow Dive, my Buddy Round Time.

7:11 Speaker 1: You know.

7:11 Speaker 2: You know, we were all around at the same time. You know, people always ask me, are you influenced by these bands that I have to have to say no, because they came out at the same time as we did.

7:20 Speaker 1: They're your peers.

7:22 Speaker 2: Yeah, I mean, you know, it's kind of hard to say you're influenced by somebody when you were out at the same time, but I've influenced them. I'm influenced by them and the fact that you know, we're like the same music or whatever else, you know, but we definitely come from different kind of backgrounds, right, So, uh, but I can appreciate any any band. I think anybody that plays music, you know, has to have an audience, no matter what kind of music you do. So I've never really prejudiced that kind of stuff like that, you know, especially coming back from our background, you know, like you know, being in church and soul music and stuff like that.

7:52 Speaker 2: You know.

7:52 Speaker 1: Absolutely, I'm really curious to would ask you about this this ep? Uh tell me if I'm saying this right span of Copada? Yeah, okay, cool.

8:03 Speaker 2: It's a it's a spinach and cheese kind of kind of food.

8:10 Speaker 1: Gotcha, gotcha?

8:11 Speaker 2: Okay, it's it's it's a playoff of slow Dog Flue rocky space station kind of thing.

8:17 Speaker 1: Oh, okay, gotcha? Gotcha. Now, So this was a tour exclusive, is that correct? You can only get this at your live shows.

8:24 Speaker 2: Yeah, I mean we wanted to do it like it because we have the record coming out in September called White Noise Supremacy, okay, and we're going to have like some of the tracks from this EP on that, so we kind of wanted to make you know, I think it might put it off for sale online at some point, you know. But other than that, we we've been working on a new a new, a new record for that. But uh, yeah, it's a tour only kind of CD.

8:49 Speaker 1: I like that concept because it kind of because it has tracks from the next record. You're kind of giving the you know, the fans who obviously are true are invested enough in what you're doing, you know that they're going to come in see you live. Those are the fans that you want to give kind of a sneak peak of what because those are the real diehards, right, those are the ones that you want to give them a sneak peak of what's to come. Yeah, that's a great concept.

9:09 Speaker 2: Definitely, man. And to my surprise, they really are out there, man. I mean yeah, I have to reiterate that. Man. There's so much great people out there, man, and it's like really good to see them come and enjoy what you do. You know what I'm saying. It's like it always any kind of monetary feeling that I've ever had, you know, because at the end of the day, you know, it's like, you know, people come on andy like your music. It's like leaving with a million dollars, you know what I mean the money.

9:35 Speaker 2: Don't get me wrong, money would help, But I'm just saying as far as their appreciation is concerned, is like really eye opening things. And also the age of the people, like they're like really young man, you know, They're like they're lacking this stuff, and I'm like, man, I wish you got go around a long time ago, you know.

9:51 Speaker 1: Right right. I'm curious who to ask you about some of the collaboration on the EP. I've seen some names, Carlos Bass, Will Brooks, yeah, Jason.

10:01 Speaker 2: Brooks, Yeah. Well, Will Brooks is a guy named it's called Delic. He's like that kind of alternative kind of hip hop kind of EMC. You know. He us he used a static and feedback and stuff like that in his raps, like you know, and his and his programming. And we always thought that, like you know, from Robin Guthrie playing on this song called Lorelei that he had a you know, the beat was in it and the guitars in it, so this so will does it already. He also noted that that element of a distortion and feedback was was always in hip hop some way, like say, for example, or being Rakeem's lyrics for Fury.

10:44 Speaker 2: It's like like a bunch of static and feedback in the background, and you're thinking to yourself, Man, that was louder, it would be kind of hot, right, So he took our stuff and made it more like that, you know, And that's what that came out like with a song called Evergreen. And then Jason f uh and College Best worked on the track that we did called Tikini. Jason Furlough used to be in this band called a New Kingdom. Oh, and he's in the band now called uh what is what is it called Daniel? Uh? Hold on?

11:14 Speaker 2: Hold on? Let me look wave generators?

11:20 Speaker 1: Gotcha gotchah okay okay?

11:22 Speaker 2: And he didn't wave generators And he did that uh production on that with College Best colas Best is. He he's one of the engineers for Wu Tang Clan. And I was doing some session where for Wu Tang back in the day, and I played on like like a couple of tracks that ghost Face did Face Killer. Yeah, this song called Challo. She can't really hear the guitar in it, but it's I played like a little background, good background in it. Yeah, of the thirty six Chambers studio of Wu Tang Studio back in the day, okay.

11:54 Speaker 2: And and uh this guy named spin Forth for a band called jack Fu Front. He made the track for black Girl Gotcha. And so we've been keeping kind of close to that kind of feeling, you know. But we also have a couple of tracks coming up from uh the guys that produced in the latest Communions records, Christophe By you know more or Lesse of a band kind of sound okay, and Todd Dema from the Communions plays drums on some of those things. We don't really have a drum at this point.

12:28 Speaker 1: We use a lot of programming, right, right, Is that Hyato nkos am I saying that correctly? Does he does?

12:36 Speaker 2: He do the high back does most of the programming for US band. He plays bass and he plays guitar on a lot of stuff. But he's he's the guy that works on most of the stuff with whether US right rights where it's too But the EP always starts off with production stuff with him.

12:54 Speaker 1: For so oh, okay, okay. Is it important to you guys to work with a lot of different people? You know, because over the years, obviously again, you know, you've been around a long time. You know, it sounds like you've you've worked with quite a few You've collaborated with quite a few different people over the years. And I would imagine, you know, everyone you work with brings in their own ideas and their own influence. And I assume because because I went back and listened to you know, there's a lot of a lot of your stuff is on band camp and I was going back and listening to a lot of it, and it really runs the gamut in terms of you know, you call it shoegaze, but there's a lot of you hear a lot of other influences in these different songs that some of them are very different than everything else.

13:31 Speaker 1: So it sounds like you've really worked.

13:33 Speaker 2: With a lot of different people. Well, I liked a lot of stuff that we're doing now because back in the day, we will always kind of like told what not to do kind of thing.

13:41 Speaker 1: Gotcha, Like, you know, this.

13:42 Speaker 2: Whole concept of working with DJs isn't a new idea. But even when we were on in nineteen eighty nine, eighty eight. We always wanted to work with DJ because you know, the beats and things were always natural natural to us. But yeah, they will always say too many, too many styles, and no one's gonna like it, you know, all this kind of stuff like that. Man. You know, I feel we feel a little bit more liberated these days than we did back game because working in a band kind of like format like bass, drums, guitar and going in into a place and running together, it's not the way we do things anymore so, right right, the production value is more or less what we do now that we're like, you know it kind of like we're Massive Attack.

14:16 Speaker 2: You know. I played guitar on Master Attacks four hundred window. Yeah, my friend Liz Fraser from the Cocktai Twins got me that job. So I played some incidental guitars on that on that record, and they worked the same way with the engineer. So if you have a great engineer, you have some ideas together, you can come up with a lot of stuff such as the way like you know Lincoln Fong did with Robin. He's his main sound guy and studio person. Lincoln Vong was the one that did all the production for all the four A D bands, Gang Press to Lush to the Cocktai Twins Live Sound.

14:53 Speaker 1: Oh wow, oh okay, yeah, excellent.

14:55 Speaker 2: He didn't did all that stuff Pale Saints and you know, he did all the all the production work on that, you know, for four AD back in the day.

15:02 Speaker 1: Okay.

15:03 Speaker 2: So we had a little bit of that in US too, you know, as far as sound and music is concerned, you know, because that's where you know, our roots come play through from that. Yeah, you haven't recorded, haven't haven't recorded with Robin Guthrie at that time?

15:16 Speaker 1: Oh okay, okay. Now the new album, So when is it? Do you have an e t A on when it's going to be out?

15:22 Speaker 2: September?

15:23 Speaker 1: September? Okay? Excellent? Excellent? Yeah, yeah, how many how many songs are gonna be on it? Or do you know that yet? I mean, is it all done at this point or is it ready to go?

15:32 Speaker 2: Is it? We got we got a couple of there's so much, so many songs we have, man, we have we have like at least four or five records are in US. You know, even more than that, songs that we got that we never did really uh put out. And also the new stuff is just like you know, just developing as we go, you know, but we don't always have the the the capacity to to get it out right now financially. But were working with a small label called Little Cloud, okay, and help us get you know, put out a few things here.

16:04 Speaker 1: And there, so you know, oh, excellent, excellent.

16:07 Speaker 2: So yeah, we got a lot of songs, a lot of songs, a lot of stuff.

16:10 Speaker 1: I'm curious to ask you about this too, So a little geography question. So you guys are in you're currently in North Carolina? Correct?

16:18 Speaker 2: What between New York and in North Carolina? My mom lives in North Carolina. Okay, she's she's getting up in age and whatnot, and so I'm here to I go back and forth to New York because I have to watch her sometimes.

16:29 Speaker 1: Oh okay, that's what I was curious about, Yeah, because I kept seeing North Carolina show up when I was reading about you Guysville. Okay, well that's that's a nice area. I've I've been through there. That's that's a nice place. But but obviously, uh, you know, I assume so you must be spending a lot of time in New York, like you said, though, right.

16:49 Speaker 2: I'm not really I mean I do. I mean I'm going next week because my my apartment's there. Yeah, I stay a part time with my brother sometimes. The studios here, our little student was here in his apartment, so you know, yeah, yeah, we did most of the production. Yeah, it's ironic that after the pandemic we started to get really really busy, you know a little bit. Even like before that, we were on like I said, to what the Brian Jonestown Massacre, Modern English, and we did a couple of other spot dates here and there, and that was really a good experience for us.

17:21 Speaker 2: And then after the pandemic, people were hundred for music and being out and we were really really busy man.

17:26 Speaker 1: Yeah, you know, you know yeah, yeah, so that's great.

17:29 Speaker 2: Well we can't really I can't really complain, but I mean other you know, but it's been it's been nice man. You know, it's nice to play music as well, like to do you know.

17:40 Speaker 1: Absolutely by the way too, for people who aren't familiar and I'm learning a lot about you guys, but for people who aren't familiar with the VELT, I was looking at this, you guys are afrodisiac is included in pitchforks list of one of the top fifty shoegaze albums ever released. That's pretty cool.

17:59 Speaker 2: Okay, yeah, I didn't know that.

18:02 Speaker 3: Yep, yep, yeah yeah, Pitchure, Yeah yeah, Pitchfork. Yeah, one of the top one of the top fifty two guys albums. That's that's amazing. And then can you tell me about too, because I was listening to this on band camp. Uh, the album Illuminated nineteen eighty nine.

18:16 Speaker 1: Is this all? Is this old songs that were remastered?

18:19 Speaker 2: Or oh man, it's a really old record that we did with Robin Geoffrey that was never released. Okay, we in nineteen eighty nine we went to England to with the Cocktow Twins and that record was shelved by Capitol and we had been trying to get it out since nineteen eighty nine. Wow, trying to get it out and get it out and get it out, man, And we went into so many walls. We just said, you know what, let's just put it out. You know, any kind of press we get from anybody else's will be amazing. Look, I can see the headline now Black Band takes record back for record company.

18:52 Speaker 2: I mean, I don't make a good headline, you know, like fuel, Like when is there any black musician taking anything from anybody? You know?

19:00 Speaker 1: Well, you know it's interesting too us. What a lot of people don't know is because people outside of the industry think that, oh, you get signed to a record label and everything's great and uh, you know, and now you're going to be rich and famous and all that. But there's there are pitfalls, and one of them is they can just decide, you know, you could record an entire album and they could just decide not to release it. And then you've got to you've got to go through and and like you said, you know, to finally get it out.

19:25 Speaker 1: That's a big hassle. And it took many, many years.

19:30 Speaker 2: It took so many years.

19:31 Speaker 1: Man.

19:31 Speaker 2: Somebody was always pregnant, or somebody who's own vacation, or somebody went to know the job and just said, you know what, you know, they don't come back to me. I don't I don't have anything anyway. It's a parent. It's a parent. I don't have anything because I'm doing this, you know what I'm saying. So put the music. God damn man, you know, and that's all we did the masters, Robert Getta give was the masters to do it, okay, and we made it, you know, eliminated like nine because it says the standpoint, which when that music came out, that we really were dead.

20:03 Speaker 2: We threw with to talk to the Twins, we threw up with the Jews and Mary Chain. We're open up for like you know, a lush you know, the Saints, throwing muses. You know, we did all these things, man, you know, but because people are so hung up on what color we are, some of that does not even come out because it's really people are really really stupid and ignorant, you know, And we just had to ignore all that because the music I felt at the time was actually timeless, because I felt like that it was just beginning to get going.

20:31 Speaker 2: For example, when we took with Seafield, that was really a good exposure because they've been there like with us, like us, you know what I'm saying, you know, the music, I said, the test of time, you know, and we and I felt that that we were the music of the future, so to speak, right, because I think the music had like that kind of vibe and passion that was beginning to develop more like you know electronically, so you know, but since we are who we are, no one, no one took us seriously, you know what I'm saying.

20:58 Speaker 2: It's like, you know, when people's see me now, they're like, oh man, you guys are really living in your dream, so and so and so. And I'm like, what I was gonna do when I was when I was, when I was at the bar and I told you I'm a musician. You think was joking with.

21:09 Speaker 1: You, right, right exactly.

21:11 Speaker 2: It's like me telling you, like, hey, man, I was like, you know, you know, I used to be ashamed of what I did, man, because of the connotations of being a poor musician, not only that a black one. Dad, you know what I'm saying. So it's not really the easiest lifestyle, so to speak. I mean, you lose people along the way because they don't see what you want to do that you can't live, make them live your dream for you, because not everybody's really built for that kind of thing, you know. But in the interim, now everything is all the shoegaze.

21:38 Speaker 2: Now, someone someone some some people acknowledges, some people don't. You know what I'm saying, right, I mean, you know, but I can say if I was in a room with some people, Okay, you're not a real shoegaze band, I said, I raised my hand and say, who are here too? The Cocka Twins raise your hand and I loved be like, okay, I rest my case. You know what I'm saying. I have to go to that kind of thing. Like, for example, if the jez A Merchant did a remix for us sold in the Jar back in nineteen ninety five, and I want to go see them.

22:07 Speaker 2: And actually I did an interview with Brooklyn Vegan saying that we would like to play with him again in the future because they were obviously about to come back out to do something right. Yeah, So then the them president manager went on. He went on the Brooklyn Vegan and said, well, you guys are aligned. They don't you know, they don't you attempt at get me some some kind of publicity is going to be You're want to fail. And I said, here's the remix nineteen ninety four was the drug Store mix and he and he was like, they don't remember you.

22:41 Speaker 2: I said, they don't remember me. I'm like, how many black people had to play with? You know? I had to say something like that you know what I'm saying, and then he shut the f up, you know, like that, man, it's just you.

22:54 Speaker 1: Know, man, you know, well very good. Yeah, No, I like I said, I mean, I've learned a lot about you guys, just just as I was prepping for the show, and I I really, I really like what you're doing. Really good stuff.

23:05 Speaker 2: And man, thanks. You know, it's like kind of like Arthur Lee and love.

23:09 Speaker 1: Kind of you know, and you know, music kind of one of the great things about music is it transcends everything, you know, color and class and and all of it. And I think I've seen it absolutely.

23:20 Speaker 2: I've seen it, man, I've seen.

23:21 Speaker 1: It absolutely, one hundred percent.

23:24 Speaker 2: Yeah, just two of the comunions. Man, I saw it. I saw it work, you know what I'm saying. That's why I want to keep doing it, because I saw how it touches people, you know what I'm saying. You know, I don't mean to sound cheesy anything like that, but it supersedes anything and any criticism because I visually saw how our music moves people and how people like like like it, you know what I'm saying, and how you know,

23:51 Speaker 2: there's no word for how beautiful it is. You know what I'm saying, right and the guy from the Comedians Rox, he's one of the biggest supporters. Man, God bless us soul.

23:59 Speaker 1: Yeah, yeah, oh that's that's excellent. Now the tour, Now that tour is completed.

24:03 Speaker 2: Correct, yes, yes, two weeks ago.

24:06 Speaker 1: Okay, And do you have plans to go back out on the road or are you kind of focused on the uh on the album right now.

24:12 Speaker 2: And we're focused on the album right now, and there might be like a UK two or something like that.

24:17 Speaker 1: Oh interesting here and there okay, okay, very cool, very cool. Well, Danny, this has been wonderful. This has been wonderful. I'm really glad you're able to join us this morning. And I'm glad we got the phone, we got the phone situation figured out and everything, and we are going to play at the at the end of our conversation, I'm going to hit that track again, black Girl, for anyone who missed it. Really really good. Of course, brand new from the brand new from the Velt. People can find it on band camp.

24:39 Speaker 1: And by the way, I'm a big I'm glad you guys have everything on band camp. I'm a big uh, I'm a big fan of band Camp because what a lot of people don't realize is if you stream something on band Camp, or better yet, if you buy the music and download it from band Camp, you get a better quality file than you do from, say, if you just stream it on YouTube or something like that. So so I really, I really encourage people to use band Camp. And you know, the way they pay the artist is fair and everything.

25:01 Speaker 1: It's better than you know, better to use band Camp than something like Spotify. Nothing against it, but but band camp is a way to go. So I'm glad you guys are on there, and and I encourage everyone to check you out there.

25:13 Speaker 2: It's really great because I I gotta check for six gig books from Spotify, so right, you know, but we appreciate the support, man, we really do. So if you ever need anything like just let us know.

25:25 Speaker 1: We'll we'll send it to you absolutely absolutely all right, Danny from the Velt, thank you so much, my friend, and I'm sure we'll talk. We'll talk again when the when it's signed for the album to come out. We'll definitely have you back on no doubt.

25:36 Speaker 2: Man, Please come me.

25:37 Speaker 1: All right, you got it, brother, all right, take care, thanks man, bye bye? All right, that was Danny from the VELT. And we're gonna play this again. Uh if you miss it at the top of the show. Uh, this is called brand New from the Velt.

25:49 Speaker 2: Oh.

25:49 Speaker 1: And I should tell people too, for anyone who's looking up the VELT if you have any trouble finding because the way that the Velt is spelled, I should have asked him where the name comes from. Uh totally.

25:58 Speaker 2: Uh.

25:58 Speaker 1: I didn't think of it. But h v v dt that is how you spell the Velt ve e l dt. And this is called Black Girl. This is inspired by the nineteen seventy two film of the same name. But this is really, like I said, atmospheric is the word that I would use to describe this. As cliche as that might sound, but it's interesting. You can kind of just close your eyes and get lost in it. This is called Black Girl. And this is the Velt