In with another MVIAD before you can blink. Running Bodies representing. Mula Kkhan representing. Jittery VHS grain representing.

As far as I can remember this is the first MVIAD with a clear break in its middle. Everything's pretty gray and grainy right up until the track slows way, way down and a more fully saturated shot of the Indianapolis skyline pops in to announce we've turned a visual corner. The longer Running Bodies is at this game, the closer they get to slicing right to the bone and making the visuals line up damn near one to one with the sounds and structures of the songs. It's a subtle thing, not something that's easy to point at, which is why I'm using a glaring example of an acknowledged two-parter, and yet. Just watch the way the camera moves and the way the edits glitter around and then try your hardest to tell me there isn't an ever deepening parity. I will appreciate the effort.

This is the first I'm hearing from Mula Kkhan which I guess means I've been messing up. This track lays waste to entire city blocks and even a cursory glance at Khan's Soundcloud has effectively leveled the entire city I've built in my head these last 26 years of life. Kkhan spits breathless, screeching fire. You can hear him occasionally almost running out of air and you can hear him not caring even a whit, like that kid in first grade who sprinted toward the cliff knowing full well he could stop himself in the right amount of time.

And it all works out over over heavy, wonked-out beats. The bass in the first half of this track is downright Space Odyssey monolithic and has me now using rudimentary tools trying to build back up the head city that the thing itself destroyed in the previous paragraph. Minimal and harrowing are easy words to drive at as an artist and even easier for me the writer to toss around but they are hard to actually and objectively execute with any conviction and Kkhan doesn't even huff as he nails it. Killer stuff. Stay noided.