The Pyrvmids Talks Miami Rap and KYRO (Kill Young, Rest Old)

Categories: Local Music, Q&A


Now better known as The Pyrvmids, 22-year-old producer Brandon Wilson has become one of the main sonic architects for Miami rappers and singers such as Denzel Curry, J. Nics, Bizzy Crook, and Sahri.

Last year, the hype surrounding Wilson jumped up another few notches with the release of KYRO (Kill Young, Rest Old), a project born out of a failed relationship and assisted by a talented cast.

On this particular day, his manager, Zack Mars, has entered the room to follow up on material that needs to be sent out. Meanwhile, his business partner and engineer, JP, plays Denzel Curry's unreleased "Stadium Starship."

See also: Denzel Curry on SpaceGhostPurrp and Raider Klan: "He Didn't Kick Me Out; I Chose to Leave"

Wilson sits on a mattress in one of the rooms of a studio, wearing jeans, black Timberland boots, a hat that reads "YAYO," and a grey shirt exposing the collage of tattoos illustrated on his left arm, with his forearm occupied by a drawing of a pharaoh.

"I went through stages growing up, probably around 15 to 19, just going in and out of religion, find things comfortable for me to believe in and for me to express myself through. I got attached to Egyptian culture, Egyptian spirituality," said Wilson.

With the release of Black American Dream less than a couple of weeks away, the Miami producer took time to talk about his approach to the project, Tupac, trill music, how The College Dropout changed his life, the Miami hip-hop/rap scene and more.

Crossfade: Why are you The Pyrvmids when you're one person?
The Pyrvmids: It was more of a choice of being mysterious and having a mystique to the name. I was given that name from my brother. I thought about it a little bit. At first I thought it was wack, but then I started posting it, started using it more. People started asking me were we a group. To this day people still think we're a group. I just say, "Hey, we are a group." It's my engineer, it's my rappers, it's my management, it's my whole team. I can't be me without a group of people behind me.

How did you approach Black American Dream differently from KYRO?
KYRO was a period of time, probably a year and a half, where I was going through depression, lost a little weight. I went through a crazy break-up. So I just said I'm going make this girl a 18-song expression of myself to her. And when I did that it was a gift and a curse. It was something that made me sad listening to, but it also put me in the position that I am right now, to have a face in Miami. But Black American Dream, on the other hand, I'm more happy, I'm more financially stable, I'm more mentally stable. I just wanted to make music for the people through God, because that's where it start off at.

I realized that chasing your dream is a good thing, but it's hard it's a hustle. It's a lot of people that just go by the format of, "I'm gonna go to school, I'm gonna do what the government wants me to do, what my parents want me to do," but it's also people say, "Alright, I'ma snap out of that. I want to be a television producer. I want to be a composer. I want to be a designer." Something that you don't technically have to go to school for, but it's a hard road to get there. So Black American Dream is basically my expression of me deciding I don't want to go to school no more after dropping out. I don't want to work for anybody anymore. But it's very hard to get there. This is my hustle tape.

What has happened in your life in between KRYO to Black American Dream that has brought you to where you are now because the songs on the BAD are pretty fun like the "All Day" with J. Nics. The only one that's sad is the one with Sahri.
In that time period it's just me being exposed to the realness that my dream is being realized and that it's close. All I have to do is kinda work and be balanced in life spiritually, mentally.

I've been dating a lot of girls. Meeting a lot of cool ass people. Just getting in touch with myself and my spirituality. And that song with Sahri is like an ode to all the girls I've been dating. I haven't had the best relationships since then. It's just good to experience different girls, and I threw that one in for them.

You also have one song in it with Bizzy Crook that you held on for a year. Why hold on to a track like that or others for an extended amount of time?

It's just putting it out the right way. It's cool to give people music, but it's even better give them music through formats that they can reach easily and appreciate it more at that moment. You give somebody a track on a Tuesday at 6pm in the afternoon they just going to listen to it like, "Eh, that's cool." But if you have it as an event on a project on a certain day you know you going to get this, they gonna to unwrap that gift, they're gonna get a surprise. I only let three tracks out form this project so far. And that's nothing compared to how it sounds as a whole.

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