Dynasty of the Dead. All of Noa's videos have been removed from the Dead Dynasty channel

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Dead Dynasty(rus. dead dynasty, dynasty of the dead) - Russian musical group formed in 2014 Russian rapper Gleb Golubin, mostly known by his stage name pharaoh :

“It's all something more. For us, this is like one big family, thanks to which we all develop together and build a platform for the implementation of our own ideas. It all started at the end of 2013. At first it was just me and a couple of producers, but soon we started to pull up more and more people. the main objective It's just about being the best at what you do. When it all started, we had a simpler attitude to our idea, but over time, a certain organizational structure began to express itself more clearly. In some ways, this burdens, but also does not allow to fall apart what we are all trying to build together.

Dead Dynasty is a member of the movement YungRussia, created by the Ufa rapper Boulevard Depo and is also part of rap « new school" in Russia.

Basically, Dead Dynasty members perform their music in the genres cloud rap , trap, minimalist trap, memphis, but a large number of experiments lead the sound of their music beyond the boundaries of any specific genres. hallmark Dead Dynasty are lyrics impregnated with nihilism, a kind of doom, aggression and rudeness, which are defiantly expressed at concerts by performers.

Now the Dead Dynasty group is quite popular among young people. In a group In contact with there are more than 200 thousand subscribers.

Title and references

"Dead Dynasty" to a certain extent implies a reference to the deceased dynasty that reigned in ancient Egypt.

For the first time the name itself "Dead Dynasty", more precisely, one of the first variations of the translation or name in Russian, is mentioned in the video “Nothing has changed” by rapper Pharaoh:

There are also other translation options, for example:

- This is corpse dynasty. If you didn't know, now you know, you bastard!- Pharaoh. "Say hello"

Often, representatives of Dead Dynasty abbreviate the name of their group to the word "dynasty", and in one track or another are represented as "the dynasty is here...".

Dead Dynasty line-up

Here is the official list of all famous Dead Dynasty artists taken from the official VKontakte public:

Name Role Location
PHARAOH Moscow, Russia
Mnogoznaal MC Ukhta, r. Komi
JEEMBO MC Moscow, Russia
TECHNO MC Odessa, Belarus
ACID DROP KING MC Moscow, Russia
BRYTE sound engineer, producer Moscow, Russia
SALUKI producer Moscow, Russia
stereoRYZE producer Stavropol, Russia
Crazy Mugg producer Liski/Voronezh, Russia
LOSTVUND producer Krasnodar, Russia
DIMVRS producer Inta, r. Komi /St. Petersburg, Russia
SOUTHGARDEN producer Kharkiv, Ukraine
Evian Voag producer Krasnodar, Russia
FrozenGangBeatz production team Ukraine Russia
whitepunk producer Penza, Russia
Cheney Weird producer Vologda, Russia
OTIS "secret weapon" Moscow, Russia
PRPL designer Moscow, Russia
VISNU video Moscow, Russia
ZABUGA tattoos St. Petersburg, Russia

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An excerpt characterizing Dead Dynasty

When the dressed, washed body lay in a coffin on the table, everyone came up to him to say goodbye, and everyone wept.
Nikolushka wept from the pained bewilderment that tore at his heart. The Countess and Sonya wept with pity for Natasha and that he was no more. The old count wept that soon, he felt, he was about to take the same terrible step.
Natasha and Princess Mary were weeping now too, but they were not weeping from their own personal grief; they wept from the reverent tenderness that seized their souls before the consciousness of the simple and solemn mystery of death that took place before them.

The totality of the causes of phenomena is inaccessible to the human mind. But the need to find causes is embedded in the human soul. And the human mind, not delving into the innumerability and complexity of the conditions of phenomena, each of which separately can be represented as a cause, grabs at the first, most understandable approximation and says: here is the cause. In historical events (where the subject of observation is the actions of people), the most primitive rapprochement is the will of the gods, then the will of those people who stand in the most prominent historical place - historical heroes. But one has only to delve into the essence of each historical event, that is, into the activity of the entire mass of people who participated in the event, in order to be convinced that the will of the historical hero not only does not direct the actions of the masses, but is itself constantly guided. It would seem that it is all the same to understand the meaning of a historical event one way or another. But between the man who says that the peoples of the West went to the East because Napoleon wanted it, and the man who says that it happened because it had to happen, there is the same difference that existed between people who said that the land stands firmly and the planets move around it, and those who said that they do not know what the earth is based on, but they know that there are laws that govern the movement of both it and other planets. There are no and cannot be causes of a historical event, except for the single cause of all causes. But there are laws that govern events, partly unknown, partly groping for us. The discovery of these laws is possible only when we completely renounce the search for causes in the will of one person, just as the discovery of the laws of the motion of the planets became possible only when people renounced the notion of the affirmation of the earth.

After the battle of Borodino, the occupation of Moscow by the enemy and its burning, the most important episode of the war of 1812, historians recognize the movement of the Russian army from the Ryazan to the Kaluga road and to the Tarutinsky camp - the so-called flank march behind Krasnaya Pakhra. Historians attribute glory to this ingenious feat various persons and argue about who actually owns it. Even foreign, even French, historians recognize the genius of the Russian generals when they speak of this flank march. But why military writers, and after them all, believe that this flank march is a very thoughtful invention of some one person that saved Russia and ruined Napoleon is very difficult to understand. In the first place, it is difficult to understand what is the profoundness and genius of this movement; for in order to guess that the best position of the army (when it is not attacked) is where there is more food, no great mental effort is needed. And everyone, even a stupid thirteen-year-old boy, could easily guess that in 1812 the most advantageous position of the army, after retreating from Moscow, was on the Kaluga road. So, it is impossible to understand, firstly, by what conclusions historians reach the point of seeing something profound in this maneuver. Secondly, it is even more difficult to understand in what exactly historians see this maneuver as saving for the Russians and harmful for the French; for this flank march, under other, preceding, accompanying and subsequent circumstances, could be detrimental to the Russian and saving for the French army. If from the time this movement was made, the position of the Russian army began to improve, then it does not follow from this that this movement was the cause.

Today we will talk about the Dead Dynasty band. Its composition is described in detail below. Before us is a beginner, but already a very popular rap label, which originated on the Internet and found its way without any outside help. The musicians who are part of the team proved by their own example that by making high-quality music, you can become famous without PR.

Compound

So, we briefly described what is special about the Dead Dynasty project. The composition of the group will be discussed below. The most popular member of Dead Dynasty is the rapper Pharaoh. In life, his name is Gleb Golubin. Gleb was born in 1996, in his youth he was seriously fond of football, but later he was injured and had to quit the sport. Pharaoh is a rapper who released his first track in 2013 under this pseudonym. Previously, I only recorded small demos at my friends' studios. In the same 2013, he graduated from school and entered the Faculty of Journalism at Moscow State University. Gleb's popularity comes a year later, when he released a video for the song "Nothing Has Changed", and then immediately prepared a mixtape "Wadget". After some time becomes a member creative association Dead Dynasty. The creator of the team is Boulevard Depo.

MNOGOZNAAL

Pharaoh released the Dolor mixtape in 2015. After that, he finally fixed his name in the rap industry. Less than six months later, he released another mixtape, this time with i61, called Rage Mode. In 2016 he published his latest this moment the work of Phosphor. This rapper is one of the most famous members Dead Dynasty. The composition of the association also includes a person who calls himself MNOGOZNAAL. He is the second most popular member of the project. This performer was born and raised in a small town called Pechora. As an adult, he moved to Ukhta, where he lives to this day. In addition to Dead Dynasty, he participates in the LTMA creative association. In principle, nothing more is known about this artist, but people are usually not very interested in his personal space. They prefer to learn about the life of a musician from his tracks. MNOGOZNAAL's compositions often carry that unique atmosphere that takes the listener to another, strange philosophical world. Describing his music is not easy. To get acquainted, we advise you to watch the clip of SIN CARA.

stealth

Dead Dynasty can't do without JEEMBO. He is one of the most mysterious, but still popular members of the team. This artist regularly releases good quality tracks, but cannot boast of a full-fledged release. But it is worth noting that JEEMBO is the owner of a unique flow, which has already come to the taste of many listeners. Despite the small amount of released material, this artist easily finds new listeners for himself, and sometimes even gives concerts (which are held with great excitement). These were one of the most popular representatives of this creative association. But it is worth noting that in addition to the above, the label has several more artists, beatmakers, producers, and even one tattoo artist. So we introduced you to the features of the Dead Dynasty association. The composition of the group has been described in detail above. main feature project is that its popularity has increased only thanks to the Internet.

One of the most interesting and impressive pop records this year was recorded by Mikhail Dombrovsky, aka Noa, a long-term colleague of the Pharaoh and a member of the Dead Dynasty creative association. True, he differs significantly from his colleagues in that instead of furious aggression, gloomy coldness and work with trends ahead of the curve, he has a dreamy detachment, strong vocals and his own musical language, woven from many unobvious influences.

The latest release of the artist: video for the song "Old Friends"

How did you get into Dead Dynasty? You are the most atypical artist for this community.

There was no casting. It's just that different musical parties, in which Gleb and I were, were united by some people. He had an album called Phlora released around this time.

Hip-hop then I listened exclusively to English language- I generally had a certain prejudice towards Russian music. At the end of 2015, when I released my own, there was mutual interest. Gleb was full of desire to record a rock album, and I had the right skills for this - and our mutual friends decided to introduce us.

“Five Minutes Ago” had not yet been released, Pharaoh was associated mainly with “skr-skr”, but I saw something special in his songs: he worked so diversely with phonetics, which sounded as melodic as possible and carried no more lexical meaning, and the emotional groove that allowed you to feel the music on international level, - would have clicked, even if I were not a native speaker of Russian.

At that time, the YungRussia association still existed. We hung out in the basement of some old house on Mayakovskaya, I really liked everything that happened. And from what later became the Phosphor album, I generally had eyes for five rubles. Much of this credit goes to White Punk, who found a melancholic, scraping sound with guitar samples over 808 basses and cymbals that chime like knives being sharpened.

I wanted to understand how this is generally done. We started talking and exchanging experiences. First of all, I showed him the acquired skills in vocals - before meeting Gleb, I didn’t make beats on the computer, I only worked with the guitar. The rock album remained unreleased, but with Gleb we realized that we could give each other a lot.

In "Dynasty" I was accepted as a sound engineer. Apparently, I will reveal the secret now, but there are only two sound engineers in Dynasty: Bryte, who finalizes, masters and brings to the finished product all Pharaoh's albums, and I myself. My profile is vocal production: effects, compression, tune.

And it all went on and on. I got to know White Punk, listened to his work, and everything slowly began to come together in what became the Wind album. Later, I also sat down at the computer, opened the sequencer and began to make my own. I had before my eyes the formulas that the guys worked on, I thought that I myself could try. So I turned into a full-fledged artist.

Noa's first album "Winds"

- You are often called a freshman, despite the fact that you are already thirty, and your Dead Dynasty colleagues are much younger.

- (Slightly embarrassed.) For the industry, I'm a superfreshman because it's only two full years since I've been working as an artist. Enough musicians who work for years on end before gaining at least some fame. The same Gleb released the first records back in 2012 as part of the Grindhouse group, along with Acid Drop King and Otis. It turns out that two years later he became popular thanks to Black Siemens.

We have a difference of six years with Max Mnogoznaal, eight years with Gleb, and nine years with White Punk, but here I prefer to make some separation. I can't say that we communicate like a sidekick, in terms of calling in free time and call to revel or talk heart to heart about matters of the heart. Our communication is built around the topics of creativity and music. And music is timeless and ageless, a game of numbers, and I communicate with the guys in its language.

- Numbers game?

It was in a song by John Meyer: “So I play the numbers game. To find a way to say that life has just begun”, song “Stop the Train”. So I don't box myself in. I found a convertible form, and I have always had content, since I was fifteen years old, since I started doing all this.

- Did you finish music school?

I have only three years in the accordion class, and without solfeggio. And I played the accordion solely because I had some disagreements with my parents. I then listened to a lot electronic music, especially loved Station 106.8 radio, because only there one could hear so much inaccessible music. The only alternative was to go to Gorbushka and randomly buy cassettes using the psy-trance or progressive trance tags. And I loved this music so much that I asked my parents to buy me a synthesizer.

And they said: “Why a synthesizer? Let's better accordion, there are also keys there ”

I did not refuse, but I played, and I realized that all this was not right. I found a very old Moscow-80 guitar on my mother's mezzanine. It was made of an incomprehensible material, I’m not sure at all that it was wood, and the tension of the strings was so strong that I put a pack of sheets under the neck so that at least somehow I could press them. Then I went to study with a teacher acoustic guitar. Apparently, she felt something - in the second lesson, she set me the task of coming up with my own song. I did - of course, it was something simple and stupid, but it gave me an understanding of what I can do, and what is close to my ideals of sound.

- How did you, a trance lover who played the accordion, get into metal?

One of my biggest disappointments was this: when I listened to Scandinavian metal - it's In Flames, Opeth, such old-style melodic death and progressive death - there were no people in my environment who would share this interest. I started to grow my hair, saved up from my pocket money for a jacket and came to a meeting of metalworkers, it was the so-called pole on the Ryazansky Prospekt metro station. There were a lot of tales about these gatherings, but when I got there, the first thing they handed me was a two-liter Obolon. And when I tried to start a conversation about music and guitars, they looked incredulously and asked: “Are you going to drink or not? Meta-a-a-a-a-all!”

It was a disappointment - I didn't manage to talk about metal with the metalworkers. I realized that you should not classify yourself as a subculture, but you should look for music that reflects your essence, whether it be a pink cassette “Hands Up!” at the age of nine or a branded CD of the Katatonia group bought at Gorbushka. At some point, it dawned on me that music is a form of communication, the transfer of something inexplicable that is in the chest of one person to another, and there is no need to waste thousands of words. And everything was difficult with communication in my life, I tried to develop this skill in myself, read a lot of books, talked with people who were older than me, thought about how to understand myself.

Clip "All mine"

This was what creative searches were for - and the first group where I was a vocalist, and participation in cover bands that played in restaurants. I really did not want to strain my parents with additional expenses and my Wishlist. I met with professional jazz musicians ten years older than me, they liked the way I sang. They offered to earn extra money - let's stay, they say, "kabakers."

It was cool, we sang Aerosmith, Sting, A-Studio. Soon, of course, I got tired of it, I had a complex that I did not express myself. I improved my guitar skills by playing 5-6 hours a day. While I was training, I realized that other people's parts are hard for me and improvisation is much closer. Even when we rehearsed for cover performances, I liked the moment when we started to improvise, and I sang in the so-called "vanilla English" - when you imitate, as it were, English-language phonemes.

Why did you eventually end up with the genre range you've come to now? Heard "Trilogy" by The Weeknd and decided to go in this direction?

Even before all my guitar experiments, I worked a lot with the voice and listened to the old soul - Brian McKnight, Tyreese, Maxwell. I have always loved them and thought that for a vocalist this kind of music is like technical death metal for a guitarist. Repeat all intonations and technical features McKnight's vocalizations is a very difficult task. But when I first heard The Weeknd, of course, I was very impressed.

Then there was Bryson Tiller, who had a great song, I heard it, and something clicked. I realized that such music for me as a vocalist is the most successful form of self-expression, in which there are practically no frames and boundaries. Local rock is still quite a text-centric genre - I tried myself in rock music, being a vocalist, including in a group that sounded at the junction of Incubus and Pink Floyd. It sounded good in English, but when we translated it into Russian, it turned out neither shaky nor rolly.

And only after getting acquainted with Dead Dynasty, I realized that the phonetics of the Russian language can achieve the state that I experience when listening to Western music. Before the interview, we discussed Zhenya Fedorova from Tequilajazzz - he also succeeds in this. But he has such an original and individual intonation that it cannot be taken as a template for work.

New album Noa came out in September - it looks like it's also new stage in his musical evolution

- Do you feel your own evolution as a writer on "Stranger"?

- "Stranger" is the culmination of [me] as an artist. On previous releases, I was looking for myself. In The Winds, I tried to dissolve my sadness and the feeling of being misunderstood. In "Lucid Dreaming" - to express a certain escape from reality, your own world. Earth/Water is just a collection of songs that I like. It was originally supposed to be a full-length Shades album, but I was switched, and I decided that I would only make music that resonates with me, without looking at trends, without descriptions of how I have fun or, there, having a great time . In general, something that I would really like myself, while I could put it on both my younger brother and my grandmother.

I got labeled after every release, I got tired of it. "Stranger" is a record made primarily for people like me. Closed, a little sad, musically savvy and a little disliked "this is your Russian rap"

I hope that this record will be a ticket to the world of modern hip-hop and Rʼn'B for older people. Her vibe can be understood by any person of any nationality in any mood. My mother is a psychiatrist, and she draws an analogy between my music and therapy: you want to listen to it when you get tired of everything. Listen, understand yourself, calm down, overcome feelings of weakness, worthlessness and nonsense of what is happening and love life again.

- You write music yourself, but Dynasty's beatmakers also worked on the Stranger album.

It's 50/50. I finalize my music myself. For example, Pasha Meep sends me a beat, I improvise for it and come up with a text, I'm looking for a vocal implementation. I have an ordinary rectangular table at home, two professional monitors, a sound card for 7,000 rubles, and an affordable tube microphone with an acoustic tap. It is in this three-by-two space that I write everything, mix it and bring it to the end. I read opinions that Dynasty uses the services of expensive studios. But no, we do everything “on the knee”.

Live performance of the track "Every time" on the channel On Air

I am a supporter of the fact that music should sound good in the source code, and catch on in the first demo. I had experience as a sound engineer. They send a demo, and more often than not, I understand that this is a failure. I hear not a song, but a newfangled lexicon, a desire to hype, lick someone's feed. Now, in general, a very fashionable combination - heavy overloaded guitar, powerful drums, booming bass and whining, Lil Peep type beat is called this, but there is no individuality. It sounds sad. And about "on the knee" - as long as it does not affect the quality. And here everything sounds high quality and on good acoustics, and on Abibas headphones for 150 rubles from the market.

And I still work with Dead Dynasty because even in the rough version their music already sounds cool, having something special - lyrics, vocal moves, or, for example, a combination, like Mnogoznaal, of a monumental voice and chilling beats.

I had an experience: I recorded a composition at home in which I strongly believed. The demo was done on a low budget, and I paid for the studio, where I re-recorded the vocals on an expensive Telefunken microphone, and a good sound engineer recorded me. I listened to the source codes, I realized that there are moments that need to be worked on, but in general the idea was conveyed. A week later they send me a mixed version that sounds like a complete failure - all the emotions that I wanted to convey had weight in the combination of voice and beat, in some special moments, and not separately in the vocal and musical tracks. Let's just say, in a combination of imperfections that formed into perfection. And I could not explain these details to a person.

I asked to open the project, did some manipulations, then returned to the original project, made corrections, and it turned out much better. And this was noted by everyone to whom I played both tracks: they said that one version is flat, and the other - with a soul. I've been trying to figure out where the line is since then. To be honest, I still don't understand. But I do everything myself.

Clip "We will"

Your videos are released on the general YouTube channel Dead Dynasty. There is such a thing that mostly young subscribers of the Pharaoh are unhappy about this in the comments.

There is a story that I still remember with a shudder: I went on the Lonely Star tour with Pharaoh in 2017 and spent one part of the tour supporting him. I didn’t flatter myself with illusions: naturally, everyone came to these concerts for the sake of Gleb and they looked very biased at my several songs. For a long time I have had a fixation on the topic of preparing for concerts, I always have to be sober, sing, I get tremendous pleasure from when the sound is tuned, I hit the notes, hear and bring my music to the highest quality, and those around me on the stage people who mean a lot to me. The dances for the plus that are now common are not about me at all - in general, I am strictly against hack work, and I have never allowed myself to do it. And so I faced a misunderstanding of the public, and every evening after the concert I had a small nervous breakdown. I couldn't find my place. But I realized that I need to move on.

Here was in 2014 Yegor Creed's hit "The Most-Most", a very fashionable composition at that time. Now it is impossible to listen to her. And I recently turned on “Superunknown” from Soundgarden, and from the very first song it shakes to the tips of your fingers. And this is 1994, how many years ago it was ... I would like Noa's music to become like this for the younger generation, and in a couple of years it opened my songs from a new side. And not only for them, but for everyone who believes that hip-hop and neo Rʼn'B trends are temporary. But, of course, I'm still far from the giants I'm talking about. I don’t have a very high self-esteem, and even if everyone around me praises my new works, I still understand that I need to go further and develop.

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