Robert Frost wrote - his train of thought as divergent as the paths he faced in the midst of some yellow wood - to no one in particular, that he would be selecting a road. Sage advice to some, but not the archetype of immaculate directions to any. The man does even even consider his position. The road seems arbitrarily chosen because it is not traveled. At no point is his final destination ever expressed. Directions are hardly requested. Poetic license aside, it can be said that the leaves trodden black were perhaps left so by weary travelers aware enough 'follow the leader;" the proverbial low-risk high reward scenario. In the end, though, the path Frost chose made all the difference. Healthy skepticism is still rightly in order. This is an era of personal brands. Individual marketing by means of deepweb is not mandatory, but routinely expected. Travel by forest is hardly the content internet users are intrigued by; consistency and relatability are cyberspace's GPS.
DJ MaboOku, for his part bares semblance to this tale of travel. Last heard from two weeks ago, the Casa de Mãe staple was towing his line. MabOoku consistently raises the bar within his genre of choice, kuduro. Rhythmic complexity appears boundless within his songs. And as with any artist, in any genre, the audience become acquainted with elements that make their object of fandom memorable. Stylistic tags become just as familiar as the manner in which songs is organized. Over time eccentricities are accepted; a fondness is developed for these markers of originality. Yet MaboOku works with nearly identical beats and tempos as his contemporaries. The vantage from from where he perches, however, allows him this advantage: with a superior view, the designer can better exploit the landscape and resources available. Where others fall prey to the attraction of modern monument MaboOku slowly builds his own.
That being said, "Lisabone," is undeniably a hip-hop beat. There is hardly a sign - other than the song being attributed to MaboOku - that what follows is a CDM production. The 4/4 beat does not try to furiously start a dance. Rather, from the onset "Lisabone" sports a break even Clyde Stubblefield would approve. Aside from the two-bar synth, the song's head is uneventful at best; bare at worst. Bass does not play a detrimental role CDM's canon, but an attempt is made to assure it's relevance and the room for improvement is evident. As the bass asserts its presence beyond the rhythm section, the song's second portion is introduced by a one-bar melody. In MaboOku fashion the rhythm is slightly altered by means of crash cymbal. Listeners sufficiently recovered from the initial shock are encountered with a loop back to the song's first section, only to realize a second, third, and fourth listen are required to fully gain appreciation. The A-B-A-B structure's symmetry is appreciated but also gives the impression that this is merely a sketch or exercise. Lack of ordinary qualities should never be sufficient to abandon an artist. Certainly worth the listen.
- John Noggle
Monday, June 30, 2014
Thursday, June 26, 2014
Sizzla - "Care For The People"
David Rodigan's radio program has only been discussed here once. The results were filled to the brim with negativity. Truth be told, though, I have nothing against the man. If anything, my respect and admiration is unfamiliar with bounds (geography and legality aside). My exposure to the man's body of work is going on approximately a year, however, the adoration Rodigan has for his music of choice is evident. The passion the man brings is what makes his expertise so simultaneously unpretentious and enjoyable. Rodigan's name and tenure at KISS comes up in Dick Hebdige's Cut 'n' Mix, but his FACT mix acts just as formidably where introductions are concerned.
Now, whether or not "Care for the People," qualifies as a scorcher is not a my decision to make. I genuinely lack the qualifications, and moreover the metrics for this grading system are obscure; weird considering its Pass/Fail vibe. Perhaps the qualities elevating any given track to "scorcher" status are purely subjective. At any rate, my recommendation is that all buffet-related jokes be used....now. The reasons for this will soon become clear because...
...the new Sizzla is worthy of bowl after bowl of attention, along with multiple trips for extra green from the salad bar. Primarily associated with dancehall, "Care for the People" (part of a compilation put out by Dub Tone Records) stands out for its rootsiness. Produced and mastered with a heavy bass by London's Tim Dub, in track's sensation is that of a traditional reggae outfit with nothing more than back up singers and a meager brass section keeping the chicken-scratch guitar company, lest the Mood inbetwixt the chorus is ignored. The lyrics, beginning with a declarative statement - "There are the days, of great tribulation" - are sung rather than toasted; a lyric sheet is non-essential. A novel message is sent - evil's seeds are planted with ill intent, not due to inherent lack of morals - but Sizzla's range in delivery provides the track's central monument. Three verses are presented and no two bear much resemblance as far as style is concerned; first is the inviting vibrato of a storyteller, second the attitude of a rapper, and third combining the first two as the instrumentation strips down to just a rhythm section. As the oddly placed bridge brings the song towards a natural conclusion, and a final chorus, it becomes clear: simply put, this is a very good song.
- John Noggle
Now, whether or not "Care for the People," qualifies as a scorcher is not a my decision to make. I genuinely lack the qualifications, and moreover the metrics for this grading system are obscure; weird considering its Pass/Fail vibe. Perhaps the qualities elevating any given track to "scorcher" status are purely subjective. At any rate, my recommendation is that all buffet-related jokes be used....now. The reasons for this will soon become clear because...
...the new Sizzla is worthy of bowl after bowl of attention, along with multiple trips for extra green from the salad bar. Primarily associated with dancehall, "Care for the People" (part of a compilation put out by Dub Tone Records) stands out for its rootsiness. Produced and mastered with a heavy bass by London's Tim Dub, in track's sensation is that of a traditional reggae outfit with nothing more than back up singers and a meager brass section keeping the chicken-scratch guitar company, lest the Mood inbetwixt the chorus is ignored. The lyrics, beginning with a declarative statement - "There are the days, of great tribulation" - are sung rather than toasted; a lyric sheet is non-essential. A novel message is sent - evil's seeds are planted with ill intent, not due to inherent lack of morals - but Sizzla's range in delivery provides the track's central monument. Three verses are presented and no two bear much resemblance as far as style is concerned; first is the inviting vibrato of a storyteller, second the attitude of a rapper, and third combining the first two as the instrumentation strips down to just a rhythm section. As the oddly placed bridge brings the song towards a natural conclusion, and a final chorus, it becomes clear: simply put, this is a very good song.
- John Noggle
Deejaý WeLiiFOx [TDM] - "Dos Babiloniia"
If assumptions had their way, every guess ever made would always be wrong. In this world, inhabitants devolve to nothing more than a collection of the most socially advanced assholes in the galaxy. Imagine mankind in a constant state of elation, fueled by nothing more than pride and ego, yet woefully incorrect 100% of the time. The tragic inevitability of human foresight in a world ruled by one word. All people are sentenced to the realm of wrongness - in absentia and perpetuity - but doomed to forever think otherwise. It has become clear: only one solution exists. Today's Noggle Wisdom goes without saying, go forth and highlight the definition of assumption in every dictionary with a black, chisel tip marker.
Now that the heavy lifting has been addressed, some entertainment is in order. Luckily, a song is already queued. My decidedly wrong shot in the dark aside - the song's title may reference Babylon, but not a single allusion to Jah is found - the new composition from Deejaý WeLiiFOx will do just fine. "Dos Babiloniia" is accessible because it does one thing well: combine electro-house with kuduro. The result being something akin to Afrohouse, which mind you, is not an originally coined term.
While electro-house may very well conjure ideas of a specific aesthetic - a variation of house to fit casual palates - WeLiiFOx meshes its intentions into the beat. Kuduro has the blinders on in respect to its dance-floor focus. Electro-house sets its sights on generating an emotion, a feeling, a not-altogether drug-free feeling of ecstasy. The distinct genres, in this sense, are complementary and listeners must only wait through five seconds of a descending synth arpeggio in the intro to revel in the 4/4 bass that underscores the song's kuduro rhythm. As soon as the percussive cue plays, the head of the song begins; oddly enough, almost in stop-time. The identity of the melody is not obscured in the least bit, and for a brief moment the bass becomes dynamic, subtly drooping for effect. All the while, the song is a testament to variety. Few unique qualities are added to the track from this point forward. Its contents are merely altered. As soon as the sixteen second mark hits, for example, the synth phrasing becomes shorter giving the audience a feeling of altering the tempo, as vocal samples barely register as more than mumbles The rhythm's consistency is left unscathed. That does not mean the beat does not change. The high pitched wails become even shorter as a zouk beat takes the lead until the outro; a loop of the song's head. This is a fun song, some may even say a guilty pleasure. But the price of a free download is very much difficult to argue with.
- John Noggle
Now that the heavy lifting has been addressed, some entertainment is in order. Luckily, a song is already queued. My decidedly wrong shot in the dark aside - the song's title may reference Babylon, but not a single allusion to Jah is found - the new composition from Deejaý WeLiiFOx will do just fine. "Dos Babiloniia" is accessible because it does one thing well: combine electro-house with kuduro. The result being something akin to Afrohouse, which mind you, is not an originally coined term.
While electro-house may very well conjure ideas of a specific aesthetic - a variation of house to fit casual palates - WeLiiFOx meshes its intentions into the beat. Kuduro has the blinders on in respect to its dance-floor focus. Electro-house sets its sights on generating an emotion, a feeling, a not-altogether drug-free feeling of ecstasy. The distinct genres, in this sense, are complementary and listeners must only wait through five seconds of a descending synth arpeggio in the intro to revel in the 4/4 bass that underscores the song's kuduro rhythm. As soon as the percussive cue plays, the head of the song begins; oddly enough, almost in stop-time. The identity of the melody is not obscured in the least bit, and for a brief moment the bass becomes dynamic, subtly drooping for effect. All the while, the song is a testament to variety. Few unique qualities are added to the track from this point forward. Its contents are merely altered. As soon as the sixteen second mark hits, for example, the synth phrasing becomes shorter giving the audience a feeling of altering the tempo, as vocal samples barely register as more than mumbles The rhythm's consistency is left unscathed. That does not mean the beat does not change. The high pitched wails become even shorter as a zouk beat takes the lead until the outro; a loop of the song's head. This is a fun song, some may even say a guilty pleasure. But the price of a free download is very much difficult to argue with.
- John Noggle
Wednesday, June 25, 2014
Os Detroia - "Não faz isso bella" & Deejay Show's remix
What follows is a music video. Os Detroia is the bane of the group showcased. In the short film, this give member collective from Angola performs a song titled ""Não faz isso bella (Don't do that beautiful)." Short of making a quick trip to Luanda, this is the of the extent of my Os Detroia centered knowledge. Despite the relative obscurity of this video, though, it quietly boasts a hearty two-million views in just four months. The content must be worthy of its three-minute length. To paraphrase hardcourt philosopher Rasheed Wallace, views don't lie.
Without the presence of doubt's shadow, it can be said this song is a straight-forward track from the land that spawned it. The beat , however, does not speak for itself. It is the toasting/rapping vocals which maintain the attention of ears 'round the world. The effortless flows and rapid delivery provide the bait and the accompanying dance is the hook. These are motions that assure eyes remain affixed to the screen. Os Detroia's performance falls somewhere in between the parameters of Southern California jerking (ca. 2009), the series of motions that brought Soulja Boy to fame, and the last year's Harlem Shake viral epidemic. References aside, American culture is an obvious source of influence but not inspiration. The gaudy jewelry, skinny jeans, and NBA apparel will be familiar to American viewers. The pop culture idolatry is hinted but not final. The communal joy - the village party - is what ultimately captivates the imagination (when the editing provides a stable screen that is).
The music video, to me, is fascinating. Musically, though, the song is just as intriguing. Short of the quite prevalent bass drum, this tune lacks something...novel. It feel bare. Nothing in the beat particularly sets "Não faz isso bella" apart, which also makes it prime real estate for a DJ remix; its club credentials are unquestionable. Although ambient is not the proper term to describe the Os Detroia original, vacant is. The song's harmony is a light orchestral feel resembling a palette, in that it is ambiguously colored but obviously tangible. Thus, the remix artist is afforded more than sufficient space to work.
Yet first thing Dejay Show does is to limit his canvas. The song is, seemingly, to the amateur ear at least, recklessly sped up. Options are limited but the integrity of the song remains intact, and only the inclusion of claps are immediately evident. The introduction is not self serving; it lasts only until the drum roll decides it is time for change. That being said, it is surprising, given Shoow's previous work, that he does not include any synth; the attention remains on the two verses. A subtle bass cohabitates the finished product: a relentless kuduro remix.
- John Noggle
Without the presence of doubt's shadow, it can be said this song is a straight-forward track from the land that spawned it. The beat , however, does not speak for itself. It is the toasting/rapping vocals which maintain the attention of ears 'round the world. The effortless flows and rapid delivery provide the bait and the accompanying dance is the hook. These are motions that assure eyes remain affixed to the screen. Os Detroia's performance falls somewhere in between the parameters of Southern California jerking (ca. 2009), the series of motions that brought Soulja Boy to fame, and the last year's Harlem Shake viral epidemic. References aside, American culture is an obvious source of influence but not inspiration. The gaudy jewelry, skinny jeans, and NBA apparel will be familiar to American viewers. The pop culture idolatry is hinted but not final. The communal joy - the village party - is what ultimately captivates the imagination (when the editing provides a stable screen that is).
The music video, to me, is fascinating. Musically, though, the song is just as intriguing. Short of the quite prevalent bass drum, this tune lacks something...novel. It feel bare. Nothing in the beat particularly sets "Não faz isso bella" apart, which also makes it prime real estate for a DJ remix; its club credentials are unquestionable. Although ambient is not the proper term to describe the Os Detroia original, vacant is. The song's harmony is a light orchestral feel resembling a palette, in that it is ambiguously colored but obviously tangible. Thus, the remix artist is afforded more than sufficient space to work.
Yet first thing Dejay Show does is to limit his canvas. The song is, seemingly, to the amateur ear at least, recklessly sped up. Options are limited but the integrity of the song remains intact, and only the inclusion of claps are immediately evident. The introduction is not self serving; it lasts only until the drum roll decides it is time for change. That being said, it is surprising, given Shoow's previous work, that he does not include any synth; the attention remains on the two verses. A subtle bass cohabitates the finished product: a relentless kuduro remix.
- John Noggle
Tuesday, June 24, 2014
David FoOx & Dj Shoow [MGP] - "V de vingança"
Alan Moore is typical the first mental association with electronic dance music and African rhythms. At best Mr. Moore resides fourth on a decidedly crowded list, and shall remain there for the time being. Lest the Watchmen and "Killing Joke" author usurps the crown from the reigning title holder - Carthaginian General Hannibal's ghost - he must come to terms with patience. Glycon has no stake in this battle. The runner-ups, mind you, are just as eager to take control on the crown. For a bearded mystery man to simply waltz into a dance party of mental associations and declare himself king is, for lack of better phrasing, outrageous.
Back within the sphere of reality practical matters still reign. The above mentioned gathering requires a soundtrack if it is to be a legitimate dance party in anyway. Luckily a song composed in tandem by David FoOx and Deejay Shoow appears to fit the theme du jour. Granted, "V for Vendetta," is not remembered for its surplus of Portuguese themed facial attire but the ambition is, nonetheless, noted. As previously heard from Deejay Shoow this is a producer that unrepentantly seeks to create his own style. The joint production released over the weekend is no exception.
The facade struggles with an ambitious interior. The outside is recognizable but the design within is beginning to spill over. Greater intrigue is prompted. Formalities are nearly discarded. What is left behind is nothing more than a welcome mat with two DJ tags and a melody tease for three seconds. As the first portion of the song begins, however, the intent becomes clearer. The typical quick tempo of a 4/4 kuduro beat is implemented; the goal is still to facilitate dancing. A doting bassline is casually observed because not much more is asked of it. What appears next is most surprising: a one-bar chromatic synth line. As the listener is left longing for the second portion of the melody, the synth phrasing becomes shorter at around twenty-six seconds - approximately when the track becomes polyrhythmic. The hand drums create an alluring sense of percussive vibrancy - the interior is now quite lively - while making low-key attempts to engage in harmonic chores. With its identity established "V de vingança" returns to its original rhythm and takes visitors to what amounts to a private section. Hints at semba are shared in the VIP lounge along with a slight bounce in the tireless synth as the song loops back to the first potion. The end is near, but the beatmakers have one more favor before its visitors disperse. A fourth section to the song commences without synthesizer. Vocal samples are suddenly preferred; highlighting the off-beats with glee. No element is used greedily or in excess. The space is shared equitably and giving proper credit where it is due. As the outro begins just a quarter of the way through the second minute, the song's unique structure - A B C A D C - impedes timely exits. The needles must be pulled - this is a very good song that should be heard again before the 5th of November. This is not an historic construction, but it is hard to dismiss its upside; even without gunpowder, treason, or a plot.
- John Noggle
Back within the sphere of reality practical matters still reign. The above mentioned gathering requires a soundtrack if it is to be a legitimate dance party in anyway. Luckily a song composed in tandem by David FoOx and Deejay Shoow appears to fit the theme du jour. Granted, "V for Vendetta," is not remembered for its surplus of Portuguese themed facial attire but the ambition is, nonetheless, noted. As previously heard from Deejay Shoow this is a producer that unrepentantly seeks to create his own style. The joint production released over the weekend is no exception.
The facade struggles with an ambitious interior. The outside is recognizable but the design within is beginning to spill over. Greater intrigue is prompted. Formalities are nearly discarded. What is left behind is nothing more than a welcome mat with two DJ tags and a melody tease for three seconds. As the first portion of the song begins, however, the intent becomes clearer. The typical quick tempo of a 4/4 kuduro beat is implemented; the goal is still to facilitate dancing. A doting bassline is casually observed because not much more is asked of it. What appears next is most surprising: a one-bar chromatic synth line. As the listener is left longing for the second portion of the melody, the synth phrasing becomes shorter at around twenty-six seconds - approximately when the track becomes polyrhythmic. The hand drums create an alluring sense of percussive vibrancy - the interior is now quite lively - while making low-key attempts to engage in harmonic chores. With its identity established "V de vingança" returns to its original rhythm and takes visitors to what amounts to a private section. Hints at semba are shared in the VIP lounge along with a slight bounce in the tireless synth as the song loops back to the first potion. The end is near, but the beatmakers have one more favor before its visitors disperse. A fourth section to the song commences without synthesizer. Vocal samples are suddenly preferred; highlighting the off-beats with glee. No element is used greedily or in excess. The space is shared equitably and giving proper credit where it is due. As the outro begins just a quarter of the way through the second minute, the song's unique structure - A B C A D C - impedes timely exits. The needles must be pulled - this is a very good song that should be heard again before the 5th of November. This is not an historic construction, but it is hard to dismiss its upside; even without gunpowder, treason, or a plot.
- John Noggle
Monday, June 23, 2014
Khalil Nova - "Super Ultra"
Khalil Nova has new music to share with the world today. As if this is not sufficient, its marketplaces flaunting a sale; a deal sad television salesmen might call a "one time offer." In exchange for this celestial sound, Nova - founder and chairman of the Nova Council - only asks for your eternal loyalty in return. The price is steep but how else can he make sure you will appreciate this gift and not just add it to a pile of forgotten mp3's? Proper context works marvels. Also take into consideration that the Distortion God will beat any opposition to his reign into submission. It is in your best interest to buy within the next twenty minutes; shipping and handling will be free!
The similarities between "Super Ultra" and "Shining Fingaz" are inescapable. Both tracks are instrumental, the two songs use Dragon Ball samples, and in tandem they make a strong case that the Novawave has not peaked. Fears of standardization have been avoided. Variety, heard almost immediately, now plays a significant supporting role. The brief introduction accompanying the words, "We have such great titles now don't we [...] We might as well just say we're invincible," merely teases at what is no longer there. The mood is set with a deep bass and the two-bar harmonic cloud of galactic dust - the Nova tag. The surprise is soon to follow because of how the rest of the materials are used. Not oblivious to trends and tastes, Nova does sprinkle the best of trap in his songs. The snare rolls and weak cymbal, however, have become more than cues. An odd sounding signature - one which seems almost like 3/4 - provides the song's foundation. As soon as the :23 mark hits another surprise is levied: a second haze and even a brief keyboard appearance in the midst of this refreshing stop-time. Following the bridge after the 1:00 mark the beat loops, unfortunately not showcasing the 2nd haze until the outro at 2:00. Fortunately, the audience gets a second chance to hear the best qualities of a still developing artist.
- John Noggle
The similarities between "Super Ultra" and "Shining Fingaz" are inescapable. Both tracks are instrumental, the two songs use Dragon Ball samples, and in tandem they make a strong case that the Novawave has not peaked. Fears of standardization have been avoided. Variety, heard almost immediately, now plays a significant supporting role. The brief introduction accompanying the words, "We have such great titles now don't we [...] We might as well just say we're invincible," merely teases at what is no longer there. The mood is set with a deep bass and the two-bar harmonic cloud of galactic dust - the Nova tag. The surprise is soon to follow because of how the rest of the materials are used. Not oblivious to trends and tastes, Nova does sprinkle the best of trap in his songs. The snare rolls and weak cymbal, however, have become more than cues. An odd sounding signature - one which seems almost like 3/4 - provides the song's foundation. As soon as the :23 mark hits another surprise is levied: a second haze and even a brief keyboard appearance in the midst of this refreshing stop-time. Following the bridge after the 1:00 mark the beat loops, unfortunately not showcasing the 2nd haze until the outro at 2:00. Fortunately, the audience gets a second chance to hear the best qualities of a still developing artist.
- John Noggle
Friday, June 20, 2014
Keyboard Kid - "New Workout Plan 2014 (Based Remixx)"
Based Eye for Every Guy is riddled with potential. Imagine the rare possibilities: spa day and based-over, compliments of God's Father. These facials exfoliate skin and brain. By design, the team's experts do more than provide a make-over, the goal is to refresh worldviews. Style is strictly superficial. The customer's deepest concerns are those of the cast and crew. Waxes and specialty grooming remain the area of licensed specialists - all of whom have been board certified to work with green, pink, white, red, and blue flames, as required. Satisfaction is not guaranteed, rather it is rediscovered.
Lil B may lecture at renowned research institution but Based World is still trying to break free from the shackles of fiber-optic cables. Luckily this is not a one-man mission. The ongoing Based quest includes more than just Based God. Chief followers of the Based book is production extraordinaire Keyboard Kid; beat-maker for the likes of Deniro Farrar and co-conspirator to such projects as Friendzone's Kuchibiru Network, Keyboard Kid, like his associates, is multifaceted. Labels have no stock in Based World and this car is no exception: he simply makes music and its sound indispensable from the Based movement.
This scene's remixes are translations just as much as make-overs. The proverbial cloudiness - an element of drug haziness and ambient harmony embraced in recent years - can be added, the appeal of heavy bass and 808 rehashes never far behind. A based remix does more than fit its subject to a model; songs must be reimagined entirely. The essence is a dream which imagines the author as based. Of the three remixes Keyboard Kid released recently, "New Workout Plan" works best. Where "Through the Wire" and "Pound Cake" fall short, the third succeeds. "New Workout Plan 2014" exacerbates the original's tongue-in-cheek quality. Kanye's vocals turn into self-parody with the benefit of time and auto-tune effect. The development of Kanye's ongoing public narrative adds an irony in and of itself, but the song succeeds in maintaining the original's integrity as a jingle.
- John Noggle
Lil B may lecture at renowned research institution but Based World is still trying to break free from the shackles of fiber-optic cables. Luckily this is not a one-man mission. The ongoing Based quest includes more than just Based God. Chief followers of the Based book is production extraordinaire Keyboard Kid; beat-maker for the likes of Deniro Farrar and co-conspirator to such projects as Friendzone's Kuchibiru Network, Keyboard Kid, like his associates, is multifaceted. Labels have no stock in Based World and this car is no exception: he simply makes music and its sound indispensable from the Based movement.
This scene's remixes are translations just as much as make-overs. The proverbial cloudiness - an element of drug haziness and ambient harmony embraced in recent years - can be added, the appeal of heavy bass and 808 rehashes never far behind. A based remix does more than fit its subject to a model; songs must be reimagined entirely. The essence is a dream which imagines the author as based. Of the three remixes Keyboard Kid released recently, "New Workout Plan" works best. Where "Through the Wire" and "Pound Cake" fall short, the third succeeds. "New Workout Plan 2014" exacerbates the original's tongue-in-cheek quality. Kanye's vocals turn into self-parody with the benefit of time and auto-tune effect. The development of Kanye's ongoing public narrative adds an irony in and of itself, but the song succeeds in maintaining the original's integrity as a jingle.
- John Noggle
Dj DenyCox [Estudio da Mana] & Puto Wilson [C.N] - Fusão Vegeta e Son goku
To every good, dense, obsession an equally accessible introduction exists; such are the reciprocal laws of nerdom (statute numbers resembling a Lovecraftian symbol more than a Roman numeral). Unlike the Shakers and miscellaneous obsessive holy movements, though, nerds have dedicated the time and logical assessment necessary to assure a legacy . Better than most anyone else with hobbies and interests, nerds can make their passions accessible. And like the schism of any religious sect, survival is at the core. Without a means to secure the future their twelve-sided legacy, modern social fetish, and gateway to solitude, this lifestyle choice would vanished from the Earth's plains long ago.
Anime is no exception. Much like followers of rush Rush fans and the HBO drama du jour, the existence of a casual anime fan has been rumored. Confirmation of this modern marvel, however, has stubbornly remained unverified. Regardless of the distant dedication it inspires, the past-time of watching anime is not really foreign. These series provide an escape. Through the vibrant animation of Dragon Ball Z and Naruto, or Cowboy Bebop's and Samurai Champloo's knack for storytelling, this expressive, animated medium shares commonalities with music. Both aim to captivate their audience's imagination - whether through dance, social movements, or critical writing - and with any luck inspire a few people too.
Aside from the title and associated image, "Fusão Vegeta e Son goku (Fusion of Vegeta and Goku's Being)" has little in common with the its apparent inspiration. This song is not an ode to a staple of early 2000s Cartoon Network. The possibility remains that radiation, from interspace travel no less, is the cause for the song's less than optimal sound quality. Of course this is about as likely as it is it realistic: not very. And so the title of this song deserves as much attention as the clipping: none at all. What proves relevant is its accessibility. The nine second introduction debuts an time-signature bizarre even if it quickly auto-corrects. The most prevalent player in the melody section, steel drums, appear as well. The children featured in a vocal sample serve more as a catalyst for a segue into than a DJ tag. As the ten second mark rolls around the fast 2/4 kuduro beat takes hold. Steel drums no longer bear the brunt of melodic responsibility as a short synth phrase ascends just as quickly as it descends. Listeners are engaged and arrive at the bridge and are greeted by similar sounds of children. The third portion of the song's body provides redemption for its lackluster showcase. With the slightness and subtlety of a master combatant, DenyCox and Puto Wilson gently vary the songs core elements. The accent on the synth has changed and a brief vocal burst highlights the beat's syncopation. By being danceable the song fulfills its genre's promise. What really matters, though, is the clear message it sends. The song's skeleton is bare. Anyone with a serviceable computer and the right program to open can hear all 68 seconds and soon realize anyone that wishes to produce can produce.
- John Noggle
Anime is no exception. Much like followers of rush Rush fans and the HBO drama du jour, the existence of a casual anime fan has been rumored. Confirmation of this modern marvel, however, has stubbornly remained unverified. Regardless of the distant dedication it inspires, the past-time of watching anime is not really foreign. These series provide an escape. Through the vibrant animation of Dragon Ball Z and Naruto, or Cowboy Bebop's and Samurai Champloo's knack for storytelling, this expressive, animated medium shares commonalities with music. Both aim to captivate their audience's imagination - whether through dance, social movements, or critical writing - and with any luck inspire a few people too.
Aside from the title and associated image, "Fusão Vegeta e Son goku (Fusion of Vegeta and Goku's Being)" has little in common with the its apparent inspiration. This song is not an ode to a staple of early 2000s Cartoon Network. The possibility remains that radiation, from interspace travel no less, is the cause for the song's less than optimal sound quality. Of course this is about as likely as it is it realistic: not very. And so the title of this song deserves as much attention as the clipping: none at all. What proves relevant is its accessibility. The nine second introduction debuts an time-signature bizarre even if it quickly auto-corrects. The most prevalent player in the melody section, steel drums, appear as well. The children featured in a vocal sample serve more as a catalyst for a segue into than a DJ tag. As the ten second mark rolls around the fast 2/4 kuduro beat takes hold. Steel drums no longer bear the brunt of melodic responsibility as a short synth phrase ascends just as quickly as it descends. Listeners are engaged and arrive at the bridge and are greeted by similar sounds of children. The third portion of the song's body provides redemption for its lackluster showcase. With the slightness and subtlety of a master combatant, DenyCox and Puto Wilson gently vary the songs core elements. The accent on the synth has changed and a brief vocal burst highlights the beat's syncopation. By being danceable the song fulfills its genre's promise. What really matters, though, is the clear message it sends. The song's skeleton is bare. Anyone with a serviceable computer and the right program to open can hear all 68 seconds and soon realize anyone that wishes to produce can produce.
- John Noggle
Wednesday, June 18, 2014
DJ set I can't ado much about - Dj Isidora Funk Minimix
Like any good American, everything I know about the world - the lesser world beyond our contiguous forty-eight, that is - came from Jon Stewart's mouth. This is not a matter of joy. I am perfectly content with most of my educational information from entertainment. This is a matter of pride. The TV has been my life-coach as long as I can remember, and no government agency, printing press, or loving family member can ever tell me otherwise. As far as I am concerned Arnie Duncan's undersecretary is a wooly mammoth. The Department of Education's offices are located on the corner of Sesame and that oversized bird nest. It comes down to this: turning on the television for more than just pleasure is a quintessential textile in the fabric we call "the American experience." I, for one, am not willing to part with it. When a man has nothing left to stand on, he must lean on his principles - so sayeth Noggle.
While none of this surprising, what follows may be. In between his patented brand of hard-hitting, muckraking, investigative journalism, Jonathan Stewart Leibovitz has been known to run lighter stories. Northward of six years ago, I would dare say, I recall one such package having aired on the Daily Show concerning a new Brazilian dance craze. Two things catch my attention upon rewatching the clip in question. First, the advent of twerking clearly occurred outside of the mainland (and has come a long way since). Second, the video's novelty took away from my initial exposure to funk carioca, favela funk, or Brazilian funky.
After the jump you will find a very serviceable nine minute set from Funk na Caixa, an excellent source for funky, rasterinha, and every combination of Brazilian aesthetics and the credo of worldwide bass music looking to get people moving. The length gives this mix a feeling not unlike an album teaser. Songs are not played out, transitions are abrupt (yet fluid), and it ends just as the mix seems to pick up momentum. But what more can be asked from so short a lesson. Given that, serviceable is the chosen adjective because Dj Isadora does a good job of doing just enough to whet the palate, as it were; an aperitif to the eventual musical feijoada. Before you is a collection of modern funk carioca with nods to house, hip-hop, bounce, and trap. Other than that, I really haven't much to say.
- John Noggle
While none of this surprising, what follows may be. In between his patented brand of hard-hitting, muckraking, investigative journalism, Jonathan Stewart Leibovitz has been known to run lighter stories. Northward of six years ago, I would dare say, I recall one such package having aired on the Daily Show concerning a new Brazilian dance craze. Two things catch my attention upon rewatching the clip in question. First, the advent of twerking clearly occurred outside of the mainland (and has come a long way since). Second, the video's novelty took away from my initial exposure to funk carioca, favela funk, or Brazilian funky.
After the jump you will find a very serviceable nine minute set from Funk na Caixa, an excellent source for funky, rasterinha, and every combination of Brazilian aesthetics and the credo of worldwide bass music looking to get people moving. The length gives this mix a feeling not unlike an album teaser. Songs are not played out, transitions are abrupt (yet fluid), and it ends just as the mix seems to pick up momentum. But what more can be asked from so short a lesson. Given that, serviceable is the chosen adjective because Dj Isadora does a good job of doing just enough to whet the palate, as it were; an aperitif to the eventual musical feijoada. Before you is a collection of modern funk carioca with nods to house, hip-hop, bounce, and trap. Other than that, I really haven't much to say.
- John Noggle
Tuesday, June 17, 2014
Dj MaBoOku [CDM] - House Lhe Da [Dj LiloCox remix]
"When two elephants fight, the grass gets trampled." - African proverbMi casa es su casa. My house is your house. Minha casa é sua casa. It is an indisputable fact - knowledge even beyond even Noggle Wisdom - that one language's words sound entirely different from another's, yet retain identical meaning. A miracle of moderately modern man. Nonetheless, idioms, turns-of-phrase, and miscellaneous varieties of folksy sayings are on an indefatigable mission to assure Babel's reigning architectural marvel stands. The saying above manage to persist because they are words: they form a sentiment, an expression of community, and a way of life. When the front door is left unlocked loneliness is never a companion.
Land and water separate me from Iberian peninsula (but another trivial bit superseding Noggleness). Technology assisted communication is the great equalizer, but baseless speculation requires a fraction of the effort. Assumptions are my staple brain food. Finally, I have the legitimacy to write this: despite never having met any of its members, CDM (Casa de Mãe Produções) appear to run their crew in this group spirit. Every producer is entitled to a room in a communal house of my imagination, free decorate as desired. The most inspiring moments, however, are occur in the living room when everyone is present. Around a coffee table perhaps, various degrees of relaxation observed from postures on the couch, everyone presents an idea and no one shoots them down. Rather, if any other house-guest is of the opinion they can give some flavor to to what is before the group, efforts are combined and neighbors with ears to the walls are all the better for it.
"House Lhe Da," is one such effort. Maboku's tracks with Firmeza work because of their similar styles. Percussion is on the front line and any melodic embellishments come second to syncopated magic. When Maboku releases a joint with LiloCox, though, imaginations are fancied for different reasons. These two Dj's play to the other's weakness. These songs tempos are slowed, but do not sacrifice rhythmic flare. The end result is like leaving an office building after 8-hours; space is open, time is slowed, and miniscule aspects turn grand. The introduction in "House Lhe Da" is short, but in the first fifteen seconds listeners are shown all the benefits of collaboration. A Maboku track may likely have no greeting, but with LiloCox present visitors are immediately greeted by a melodica's warm smile and the great expectations of manufactured excitement above a 4/4 bass. As obvious as this business-like ploy may be, the mid-tempo kuduro beat soon follows along with a its dynamic tom. The view from LiloCox and Maboku's office alone is worth the visit; it does not overwhelm. The first verse concludes at :37 with a short break. Another brief verse lasts until :56, and unlike lesser enterprises the tour is not yet complete. As it turns out their office is capable of revolving. A brief voice sample is highlights offbeats and the melody experiments in a start-stop manner before it slightly longer during the second half. Not a historic song by any stretch - if anything a good transitional tune after the warm-up portion of a set. This is, however, a testament to both working in unison as well as the parity between those who work in the higher floors and others still at ground level.
- John Noggle
Monday, June 16, 2014
Dadifox & PDDG - "Tchu Cala Baby Kuduro Rock"
Rock music is the strangest piece of furniture in the living room of popular music: non-specific yet ever present. A curator of this room is just as likely to know what larger role, if any, rock is meant to play as any visitor. Is it meant to be sat on? Is it meant to be covered with cloth? ...so on, and so forth. Unfortunately no one has the heart to tell rock the words no one ever wants to hear, "It's time to move on." Rock has only Cleveland to return to; Miami is big enough for only one Cavalier. Alas, rock's service time and unspoken tenure must be considered; a hefty severance package is in order.
For all its strangeness, rock is unique. Its cultural heydey doubles as a compressed history lesson. Rock of the 1960s and '70s - subjective exceptions sporadically sprouting in the 1980s and '90s - was a culmination. The often passed over "n roll" does like a rolling stone and goes on with no direction home. Rock took everything that came before, reimagined it with the technology of the time, and improved it beyond most imaginations. Destined to become a rebellious institution, it was eventually torn down by its own rebels. Rock backed itself into a corner. Just as well, Pendulum, Bloody Beetroots, and Skrillex, did not lift sounds from the Lomax archives to fuse the with tastes of their present. Drum'n'bass, house, and dubstep all eventually put lipstick on "rock" the style and now society is coping with a plaster caster that should have never been.
In his version of this travesty Dadifox makes his intentions clear. He enlists PDDG to help with "Tchu Cala Baby Kuduro Rock," and includes a note reading, "a ideia é trazer coisas novas (the idea is to bring forth new things)". As respectable as the intention, but nonetheless unorthodox. A series of neck movements are not required to catch a glimpse from the optimal angle, but doing is helpful. Listeners are greeted by a rare juxtaposition: a foghorn introducing the electric guitar. A riff is not molded, rather the desired bits are manually extracted. The remainder of the song is like relying on myopic eyes for a hallway's visual description, which is to say certainty is never found. Like a good rock venture, the song lasts upwards of three-minutes. Changes, though, come every five or ten seconds, meaning that like the rhythm the song's organization comes from kuduro. Following a twenty-five second head, the guitar notes are modulated and a single vocal sample is played as the hook. A trend emerges. This is a song that is actively competes with itself. An identity is found briefly with the tempo changes and the notes becoming shorter. A bridge (0:46 - 0:52) and two distinct "break-downs" (0:52 - 0:55 and 0:56 - 1:07) are formed but are just as soon discarded. Just after the minute mark the guitar dissipates, and like a good kuduro beat the song begins to wrap up leaving with in a brief but impactul memory. As the digital drums play on, the ambition, like the song itself, becomes larger and unmistakable. As the second loop begins it becomes clear the clumsiness is unavoidable. In the mean time, the weird piece of furniture that is rock music now has a new tchotchke to support.
- John Noggle
For all its strangeness, rock is unique. Its cultural heydey doubles as a compressed history lesson. Rock of the 1960s and '70s - subjective exceptions sporadically sprouting in the 1980s and '90s - was a culmination. The often passed over "n roll" does like a rolling stone and goes on with no direction home. Rock took everything that came before, reimagined it with the technology of the time, and improved it beyond most imaginations. Destined to become a rebellious institution, it was eventually torn down by its own rebels. Rock backed itself into a corner. Just as well, Pendulum, Bloody Beetroots, and Skrillex, did not lift sounds from the Lomax archives to fuse the with tastes of their present. Drum'n'bass, house, and dubstep all eventually put lipstick on "rock" the style and now society is coping with a plaster caster that should have never been.
In his version of this travesty Dadifox makes his intentions clear. He enlists PDDG to help with "Tchu Cala Baby Kuduro Rock," and includes a note reading, "a ideia é trazer coisas novas (the idea is to bring forth new things)". As respectable as the intention, but nonetheless unorthodox. A series of neck movements are not required to catch a glimpse from the optimal angle, but doing is helpful. Listeners are greeted by a rare juxtaposition: a foghorn introducing the electric guitar. A riff is not molded, rather the desired bits are manually extracted. The remainder of the song is like relying on myopic eyes for a hallway's visual description, which is to say certainty is never found. Like a good rock venture, the song lasts upwards of three-minutes. Changes, though, come every five or ten seconds, meaning that like the rhythm the song's organization comes from kuduro. Following a twenty-five second head, the guitar notes are modulated and a single vocal sample is played as the hook. A trend emerges. This is a song that is actively competes with itself. An identity is found briefly with the tempo changes and the notes becoming shorter. A bridge (0:46 - 0:52) and two distinct "break-downs" (0:52 - 0:55 and 0:56 - 1:07) are formed but are just as soon discarded. Just after the minute mark the guitar dissipates, and like a good kuduro beat the song begins to wrap up leaving with in a brief but impactul memory. As the digital drums play on, the ambition, like the song itself, becomes larger and unmistakable. As the second loop begins it becomes clear the clumsiness is unavoidable. In the mean time, the weird piece of furniture that is rock music now has a new tchotchke to support.
- John Noggle
Skyscrapers of music & DJ MaboOku - "Chapa Quente"
The economics of music is fascinating. Beyond contract negotiations and residuals, merchandising rights and tour dates, each song is distinctly homey. Completed works are all different. Every song uses different combinations of sound, making some more comfy than others. Textures are modeled as necessary. The purpose, all the while, is to convey a message or emotion while appealing to a contemporary audience's taste. A seemingly insurmountable feet even when peaking at 40 Alas, every song is the natural habitat for music economics, and its composer is the lecture hall's professor. Turn down for notetaking!
Take this trip with me. When any one person listens to a song, elements are isolated. In the process pleasure is extracted, or not, from these sums of a whole. Some of this is due to predictability. Some of this is due to nostalgia. Regardless, the common thread is the use of a cammon resource: sound. PIcture an imaginary library - a workshop of sound . Patrons are free to roam to aisles so as to pick and choose one, of an infinite number of copies, as they go about sound selection. Overwhelming because any number of possibilities exist; innumerable combinations are possible. Some make sense, some do not; some are logical, some are gratuitous. This is both an oversimplification and a criminal misunderstanding, but until Roland Kirk rises from the grave to give me a patented Albert Ayler beatdown, I will continue to think the way I do (incorrect as I may be). The model works well enough. The resources are unlimited but the space and time is not. It is rare that a truly original structure arises. More often than not a song is deemed "good" because of it fits well within a formula. One the materials had to be selected, not how to use them.
DJ MaboOku operates on a special plane. Working with dance music, Maboku's designs are expected to fir a style. Electronic or not, the rhythm and speed of dance music is largely predetermined. The purpose is to provide a soundtrack for the dancefloor; BPMs are just as much a guideline as a convenience. What makes any DJ special is his discretion in selecting resources are creativity in use. CDM's Maboku is fixated with rhythm, and shows this again in "Chapa Quente." The song's base is introduced immediately in a brief introduction. The remainder is built out of this nucleus. The song, however, is more than just hand drums and sampled accordion - the latter of which is not appreciated until of brief hiatus following the minute mark. The outside has all the appeal of an office building with an ambiguous bass drum, but the inside is marked by the quaint feel of a workshop. MabOuku's change to 2/4 from kuduro's breakneck 4/4 may likely be the culprit. The breeze can ease through. The use of batida, though, is just as likely. The song is busy, but not cluttered even as a second rhythm is placed above the first. In the stripped down nature of the song, only one vocal sample is used - and twice at that - to signify quickly approaching changes not for harmony. For all their simplicity, both the accordions and the drums vary in the second half of the song: a testament to the song. A design's appeal is not how many items can be fit into an area so much as how they are applied.
- John Noggle
Take this trip with me. When any one person listens to a song, elements are isolated. In the process pleasure is extracted, or not, from these sums of a whole. Some of this is due to predictability. Some of this is due to nostalgia. Regardless, the common thread is the use of a cammon resource: sound. PIcture an imaginary library - a workshop of sound . Patrons are free to roam to aisles so as to pick and choose one, of an infinite number of copies, as they go about sound selection. Overwhelming because any number of possibilities exist; innumerable combinations are possible. Some make sense, some do not; some are logical, some are gratuitous. This is both an oversimplification and a criminal misunderstanding, but until Roland Kirk rises from the grave to give me a patented Albert Ayler beatdown, I will continue to think the way I do (incorrect as I may be). The model works well enough. The resources are unlimited but the space and time is not. It is rare that a truly original structure arises. More often than not a song is deemed "good" because of it fits well within a formula. One the materials had to be selected, not how to use them.
DJ MaboOku operates on a special plane. Working with dance music, Maboku's designs are expected to fir a style. Electronic or not, the rhythm and speed of dance music is largely predetermined. The purpose is to provide a soundtrack for the dancefloor; BPMs are just as much a guideline as a convenience. What makes any DJ special is his discretion in selecting resources are creativity in use. CDM's Maboku is fixated with rhythm, and shows this again in "Chapa Quente." The song's base is introduced immediately in a brief introduction. The remainder is built out of this nucleus. The song, however, is more than just hand drums and sampled accordion - the latter of which is not appreciated until of brief hiatus following the minute mark. The outside has all the appeal of an office building with an ambiguous bass drum, but the inside is marked by the quaint feel of a workshop. MabOuku's change to 2/4 from kuduro's breakneck 4/4 may likely be the culprit. The breeze can ease through. The use of batida, though, is just as likely. The song is busy, but not cluttered even as a second rhythm is placed above the first. In the stripped down nature of the song, only one vocal sample is used - and twice at that - to signify quickly approaching changes not for harmony. For all their simplicity, both the accordions and the drums vary in the second half of the song: a testament to the song. A design's appeal is not how many items can be fit into an area so much as how they are applied.
- John Noggle
Friday, June 13, 2014
Dejay Shoow [MGP] - "Sucesso"
I have been listening to far too much Portuguese dance music. The situation as progressed to the point where this electronic fascination has led me towards fairy tales. I am willing to concede this much: on a surface level neither of these have much in common. The Brothers Grimm and Luso-electronic rhythms do not have much in common; this much I will admit. The limits, though, are only found superficially and the reasons are are not cryptiv. Marfox, Dadifox, Niggafox, Ly-c0ox, and Finicox sound like the starting line-up for a petting zoo rec league team. The names of choice are stylistically derivative - and granted, I am not a DJ - but my affinity for these modern sounds of Lisbon will not rest. It seems the little voice that tells me I like the music will not rest until I have a wildlife based nickname too. So for the sake of self-reservation I am inclined to seek this woodland-critter based name. This is where the Brothers Grimm and their disproportionate amount of fox tales enter. Like presidential candidates in the early stages if a campaign, I have not have taken it upon myself to make a decision (but I did enjoy this cat and a fox story). My choices stand as such : Felýcox and Elýfox
Luckily - for me, and only me - this is not a name based fraternity. Earth is not an enormous Tumblr. The western world is not on the verge of major linguistic change. Waking up tomorrow will be be accompanied by a sudden rejection of vowels in preference of X's and V's. Look no further than DJ Jeff. For one, he does not seem to be have concerned with the matter - or with creating an alias at all. Second, it is not roster depth that foments this marvel. Like the -cox's and -fox's, auteur's track-name is ultimately a matter of free-choice, not a template Even looking through previous posts on the subject - mainly DJ Firmeza and DJ Mab0oku - no obvious reasoning is found; though I will posit one generality. The loss of homogeneity is sign for how far from the center the party has traveled; and with greater distance between beatmakers, the more independent and maverick their spirit.
Such seems to be the case with DJ Show. Casually aligned with the crews BNPB, TDM (Tucho da Mae), and SBM (Soldier Boyz Muzik), Sho0w is an entity unto himself. The name says it all. If anything, an uncomfortably simple scenario. Often times Show will do nothing more than slightly adjust a typical 4/4 kuduro rhythm and become concerned himself with more metronomic bass. Samples are often not exploited and vocals are not cunningly tweaked. The real marvel for Show is his synth lines - often times taking on the likeness of MIDI. Moments which not mere novelty. The synth elaborates on a skeleton Sh0ow lays out until, as a beat, the creation stands out. "Sucesso" is a very good song. It incorporates the DJ's best qualities. The number starts with an almost batida feel. The harmony and melody play to each other, but the first and second listen leaves listeners in the midst of competing tracks. Without allowing time for comfort an archetypal kuduro rhythm begins. Additional syncopation is found in some humble call and response from a brief vocal sample just before the second tag - "Esso e sucesso" - leads into the bridge, and its brief experimentation with start-stop time. This is not a scene changing number, but it is a very good dance tune (even as the composer waits for volunteer vocals).
- John Noggle
Luckily - for me, and only me - this is not a name based fraternity. Earth is not an enormous Tumblr. The western world is not on the verge of major linguistic change. Waking up tomorrow will be be accompanied by a sudden rejection of vowels in preference of X's and V's. Look no further than DJ Jeff. For one, he does not seem to be have concerned with the matter - or with creating an alias at all. Second, it is not roster depth that foments this marvel. Like the -cox's and -fox's, auteur's track-name is ultimately a matter of free-choice, not a template Even looking through previous posts on the subject - mainly DJ Firmeza and DJ Mab0oku - no obvious reasoning is found; though I will posit one generality. The loss of homogeneity is sign for how far from the center the party has traveled; and with greater distance between beatmakers, the more independent and maverick their spirit.
Such seems to be the case with DJ Show. Casually aligned with the crews BNPB, TDM (Tucho da Mae), and SBM (Soldier Boyz Muzik), Sho0w is an entity unto himself. The name says it all. If anything, an uncomfortably simple scenario. Often times Show will do nothing more than slightly adjust a typical 4/4 kuduro rhythm and become concerned himself with more metronomic bass. Samples are often not exploited and vocals are not cunningly tweaked. The real marvel for Show is his synth lines - often times taking on the likeness of MIDI. Moments which not mere novelty. The synth elaborates on a skeleton Sh0ow lays out until, as a beat, the creation stands out. "Sucesso" is a very good song. It incorporates the DJ's best qualities. The number starts with an almost batida feel. The harmony and melody play to each other, but the first and second listen leaves listeners in the midst of competing tracks. Without allowing time for comfort an archetypal kuduro rhythm begins. Additional syncopation is found in some humble call and response from a brief vocal sample just before the second tag - "Esso e sucesso" - leads into the bridge, and its brief experimentation with start-stop time. This is not a scene changing number, but it is a very good dance tune (even as the composer waits for volunteer vocals).
- John Noggle
Thursday, June 12, 2014
DJ set I can't ado much about - Traxman RA podcast 419
Of the many places where drum'n'bass overlap with footwork on the giant Venn diagram that is electronic music genre exploration, my favorite is their niche in bro-ing out. These are musical styles unintentionally ideal for the gym. D'n'b, just as much as footwork, places a premium of danceable rhythms. But moving in time is terribly specific act with awfully direct intentions. The possibility for generalizing must be exploited. This is the soundtrack of getting stuff done.
2013 was a good year for juke and footwork music. Traxman, though, is not likely the genre's household ambassador. If this situation were taking place in the carefully constructed choreographed of a beauty pageant, the term runner-up would be used...often. In terms of name recognition Traxman resides somewhere behind the late DJ Rasahad, DJ Spinn, and RP Boo. Luckily, fringe living includes amenities. Traxman manages to take an already out of the ordinary style off-course with a hard left turn. The basic dancing beat is omnipresent. Its natural habitat, though, seems more likely to be a headphone or car speakers. Consider this Fader mix a nice introductory set.
The RA podcast I re-post is a continuation of the DJs thought process, as far as a single lesson can prove this. Traxman dips his toes into the jazzy, the housey, the ambient, and the metal all in the context of footwork. Clocking in at 40+ minutes the return on investment is quite significant. That's really all I can say.
http://www.residentadvisor.net/podcast-episode.aspx?id=419
- John Noggle
2013 was a good year for juke and footwork music. Traxman, though, is not likely the genre's household ambassador. If this situation were taking place in the carefully constructed choreographed of a beauty pageant, the term runner-up would be used...often. In terms of name recognition Traxman resides somewhere behind the late DJ Rasahad, DJ Spinn, and RP Boo. Luckily, fringe living includes amenities. Traxman manages to take an already out of the ordinary style off-course with a hard left turn. The basic dancing beat is omnipresent. Its natural habitat, though, seems more likely to be a headphone or car speakers. Consider this Fader mix a nice introductory set.
The RA podcast I re-post is a continuation of the DJs thought process, as far as a single lesson can prove this. Traxman dips his toes into the jazzy, the housey, the ambient, and the metal all in the context of footwork. Clocking in at 40+ minutes the return on investment is quite significant. That's really all I can say.
http://www.residentadvisor.net/podcast-episode.aspx?id=419
- John Noggle
Wednesday, June 11, 2014
Internet music's Soul & new Black $murf - "Thousand Tears [Prod by Frozen Gang Beats]
In one year the world cycles through four seasons The entire Old Testament comes down to ten commandments. The internet has forty-seven total rules; no more, no less, and presumably closed to amendments. What may come as a surprise is this: of the three works are listed, only one of the attributable authors can lay claim to both a Ted talk and a mention as one of Time Magazine's most influential people. But as helpful to writing as randomly selecting a rule of the internet might be - number thirty-three and its decree, "Lurk more, it's never enough" - what follows is not music about the internet. This is, just as well, not a post about music by the internet braintrust. "Internet music" as a label is a thinly-veiled genre reference. "Internet music" is an archival tool to collect a diverse swatch of auteurs, but not a style. This is about music, however amateur, from the internet.
Without straying too far from 4chan - described to me by a gentleman in a very large college lecture hall as "the gutter of human achievement," the one and only time he spoke in five months - m00t is more than a myth. Consider these words by Christopher Poole (or an awfully committed method actor):
Black $murf is very much captured by the internet music category. He is based out Memphis, Tennessee and fuses the best of hip-hop he grew up with - late 1990s and early 2000s southern rap - with the freedom of internet anonymity. Which is to say, the entire corpus used to form an opinion of Black $murf is based on what has been written for him. The Black $murf discography is a first-person point of audio biography for an alter ego's point, the most prolific example that comes to my mind being this 2013 EP. Excessive influences often breeds indifference - lack of focus becomes synonymous for over ambition and stretching yourself creatively thin. But this thought process seems to come natural to Black $murf. A Juicy J flow, DJ Screw variations, horror aesthetics, and anime references (though not exclusive) are effortlessly woven together. Unfortunately this approach produces lots of throwaway creations too. The upside is how far on the opposite end of the spectrum the pleasant results are found. High risk, high reward, and "Thousand Tears" is exemplary of this. As the song begins, the listeners are treated sample from Naruto and an appropriately Japanese melody. Frozen Gang Beatz has made a clever play on the large orchestral creations of trap by replacing symphonic elements with these East Asian sounds over a 4/4 cymbal and non-excessive snare rolls. The somber melodic feel assists the content of the song. The character of Black $murf, as often is the case, is grappling with the topic of fate. The vehicle chosen is more a mid-tempo ballad than a blues record; a chorus is passed over Black $murf for a matter-of-fact flow and spoken word passages. "You gotta get it how you live it, always chase your dreams / And never let a n*igga tell you what you gotta be," is some of the wisdom ultimately passed on to those who have the pleasure of enjoying this track.
- John Noggle
Without straying too far from 4chan - described to me by a gentleman in a very large college lecture hall as "the gutter of human achievement," the one and only time he spoke in five months - m00t is more than a myth. Consider these words by Christopher Poole (or an awfully committed method actor):
"The emphasis on anonymity is a large factor [...] it allows you to express things that normally you wouldn't if you had an identity."The internet as a public service is not a terribly unique idea. Putting it in the context of an unofficial mental health service, though, gives the notion of creativity some legs. Think of the internet as borderless group therapy and the first frontier of Noggle Care. Patients are free to participate by creating. The music is rooted patients' impulsive bursts in different facilities: Bandcamp, Tumblr, and Soundcloud. Raider Klan, OFWGKTA, Based World, Sad Boys, and such are different sessions times.
Black $murf is very much captured by the internet music category. He is based out Memphis, Tennessee and fuses the best of hip-hop he grew up with - late 1990s and early 2000s southern rap - with the freedom of internet anonymity. Which is to say, the entire corpus used to form an opinion of Black $murf is based on what has been written for him. The Black $murf discography is a first-person point of audio biography for an alter ego's point, the most prolific example that comes to my mind being this 2013 EP. Excessive influences often breeds indifference - lack of focus becomes synonymous for over ambition and stretching yourself creatively thin. But this thought process seems to come natural to Black $murf. A Juicy J flow, DJ Screw variations, horror aesthetics, and anime references (though not exclusive) are effortlessly woven together. Unfortunately this approach produces lots of throwaway creations too. The upside is how far on the opposite end of the spectrum the pleasant results are found. High risk, high reward, and "Thousand Tears" is exemplary of this. As the song begins, the listeners are treated sample from Naruto and an appropriately Japanese melody. Frozen Gang Beatz has made a clever play on the large orchestral creations of trap by replacing symphonic elements with these East Asian sounds over a 4/4 cymbal and non-excessive snare rolls. The somber melodic feel assists the content of the song. The character of Black $murf, as often is the case, is grappling with the topic of fate. The vehicle chosen is more a mid-tempo ballad than a blues record; a chorus is passed over Black $murf for a matter-of-fact flow and spoken word passages. "You gotta get it how you live it, always chase your dreams / And never let a n*igga tell you what you gotta be," is some of the wisdom ultimately passed on to those who have the pleasure of enjoying this track.
- John Noggle
Tuesday, June 10, 2014
Cuttle "Back Jah" [GA001A] + (Alpha Steppa Remix) [GA001B]
For all the negativity and, frankly, sheer mockery that Restless Leg Syndrome unleashed upon society, credit was never justly dolled out. With the advent of Mirapex and its intense urges came a renaissance in mysterious, possibly psychosomatic, diseases. Yet the scale remains unbalanced. Not since the days of medicinal leeches and snake oil has the medical field propelled such creativity. Imagine the multitude of helpless ailments patients may have already contracted. Symptoms are not always prevalent! Worst, these signs are not always clear. It is on humanitarian grounds that I write this post: both a cautionary tale and public service.
I speak to you not just as one who writes. I rent time on your screen as victim, too. I, myself, suffer from a scourge that only I and an advertisement currently in R&D can explain. Be that as it may, The Echo Reflex Disease (TERD) is composed of equal parts physical ailments and state of mind. I may not be patient zero, but I have narrowed the cause to listening to David Rodigan's BBC 1Xtra program. Upon entering Rodigan's echo chamber, a virus begins the process of infection. The clearest signs show within twenty-four hours and include a variety of ailments - including but not limited to - voting for a monarchy headed by King Tubby, explaining to friends how the Mad Professor is the true cause of climate change, and painting any ark in sight black.
The above presentation, however, is an extreme case. Most - or those reported at the time of this post - have been mild. The most prevalent results revolve around increased listening of dub; such as the selections below. The first (shared after the jump) is an original cut from the US-based label Grand Ancestor. Immediately clear from this, the label's first release, is an inclination towards the headphone audience more so than the dance floor. The pace is slow, as it should be. The give-away, though, is the faint breakbeat sound heard within the introduction. This is a production that favors careful listening and herbal essences. Audiophiles are pleased in the process. The highlight is a clear dubstep bass, as well as the two distinct drops at 2:17 as well as 3:40 unassumingly built up by vocal cues - the most accessible quality to casual fans. The most interesting qualities, however, are the drum fills inbetwixt fades as well as the start-stop quality of the rhythm. The false end nearly a minute before the ending is attention grabbing, but not getting lost the ambient sea of its own creation is the track's greatest accomplishment. If nothing else, this serves as a fresh addition to any song based music library.
The remix of the original track, though, strikes me as more interesting. Immediately captivating is the London-based Alpha Steppa label's preference for a lower pitch. The alternate version's distinction is also due to the increased tempo and preference for a slight techno flare. Within these curious choices is the utilization of chicken scratch, greatly assisting the rhythm. All the while the synth has the liberty to space out its melodic role. Listeners are thusly rewarded with a rhythmic change at just about the minute mark and the sudden surfacing of a middle eastern sound. Altogether, this is not a dub song to forget.
- John Noggle
I speak to you not just as one who writes. I rent time on your screen as victim, too. I, myself, suffer from a scourge that only I and an advertisement currently in R&D can explain. Be that as it may, The Echo Reflex Disease (TERD) is composed of equal parts physical ailments and state of mind. I may not be patient zero, but I have narrowed the cause to listening to David Rodigan's BBC 1Xtra program. Upon entering Rodigan's echo chamber, a virus begins the process of infection. The clearest signs show within twenty-four hours and include a variety of ailments - including but not limited to - voting for a monarchy headed by King Tubby, explaining to friends how the Mad Professor is the true cause of climate change, and painting any ark in sight black.
The above presentation, however, is an extreme case. Most - or those reported at the time of this post - have been mild. The most prevalent results revolve around increased listening of dub; such as the selections below. The first (shared after the jump) is an original cut from the US-based label Grand Ancestor. Immediately clear from this, the label's first release, is an inclination towards the headphone audience more so than the dance floor. The pace is slow, as it should be. The give-away, though, is the faint breakbeat sound heard within the introduction. This is a production that favors careful listening and herbal essences. Audiophiles are pleased in the process. The highlight is a clear dubstep bass, as well as the two distinct drops at 2:17 as well as 3:40 unassumingly built up by vocal cues - the most accessible quality to casual fans. The most interesting qualities, however, are the drum fills inbetwixt fades as well as the start-stop quality of the rhythm. The false end nearly a minute before the ending is attention grabbing, but not getting lost the ambient sea of its own creation is the track's greatest accomplishment. If nothing else, this serves as a fresh addition to any song based music library.
The remix of the original track, though, strikes me as more interesting. Immediately captivating is the London-based Alpha Steppa label's preference for a lower pitch. The alternate version's distinction is also due to the increased tempo and preference for a slight techno flare. Within these curious choices is the utilization of chicken scratch, greatly assisting the rhythm. All the while the synth has the liberty to space out its melodic role. Listeners are thusly rewarded with a rhythmic change at just about the minute mark and the sudden surfacing of a middle eastern sound. Altogether, this is not a dub song to forget.
- John Noggle
Monday, June 9, 2014
DJ Finicox [CDM] - "SexyLady GangstaZouk [Demo]"
The title says demo, but one of the tags says "Geomagic." Understand that I could not resist. By an large, Soundcloud has contributed a wealth of knowledge - or warnings, it depends on the day - to my music listening. First, beware of unattributed remixes. Just because it is accessible does not mean it is good. Second, because a piece of music does not say it can be downloaded does not mean that it cannot be downloaded; a piece of advice, just as much as a word to the wise. Lastly, stay away from titles including "preview, "clip," or "demo." Luckily all rules have exceptions. Just keep an outline of said rules near the list of grounds under which to break them.
The release of new Finicox - or another noteworthy artist, as the case may be - is a clear exception. Much like B-Side A-Hole favorite DJ Firmeza, Finicox has an intangible benefit Finicox, just as much as Yudifox is an entryway into major collectives - such as CDM - as well as the larger galaxy of "New Portugal". And not unlike the benefit of preserving a dying language, throwing peripheral figures into the mix allows listeners to develop an ear for commonalities while appreciating distinctions.
- John Noggle
The release of new Finicox - or another noteworthy artist, as the case may be - is a clear exception. Much like B-Side A-Hole favorite DJ Firmeza, Finicox has an intangible benefit Finicox, just as much as Yudifox is an entryway into major collectives - such as CDM - as well as the larger galaxy of "New Portugal". And not unlike the benefit of preserving a dying language, throwing peripheral figures into the mix allows listeners to develop an ear for commonalities while appreciating distinctions.
Finicox has an independent streak to him, and his work reflects it. Subtly infusing personal influences, Finicox flashes flares unique to the aesthetics of Lisbon. Not earth-shattering, but something as miniscule as the inclusion of cymbals and a propensity for signature changes are certainly appreciated. But "SexyLady GangstaZouk," is not about this. Bass-driven "O Mais Remitente" (linked above) or "Eh Dijza" attempt to polish the genre's song structure and introducing pop elements. "SexyLady GangstaZouk," meanwhile, brings Africa to a pop song (similar to this tune, when replacing pop with dance). The zouk beat - similar to a dembow/dancehall rhythm, but quicker than what would be heard in tarraxinha or cumbia - is possibly to most foreign element to the number. The drop is neither subtle nor unpredictable; the sudden, but not altogether surprising, shift towards trap, however, is an entirely different matter. This song is equal parts refreshing and promising, just not Finicox's best.
- John Noggle
DJ set I can't ado much about - Juan Atkins Boiler Room Detroit
If the perpetual parade of pointless interviews I have grand marshalled for two post-college years now has taught me anything, it is this: never hesitate answering the call from an unknown number in the middle of your, as of still, pleasant lunch. Every rings is a reminder. Your ideal job is still out there! Then again, considering my astonishing lack of success (for a partial archive on the matter, proceed to #NTU2014) I may not be a "source of note." Be that as it may, I have honed some esoteric skills. I can now compress my thoughts into easily digestible sentences; no small feat for a recovering dual liberal arts major. Anything to keep my mind sharp and my approach fresh. The key to a good first meeting walking out of a room and leaving the impression of being a master chef in linguistic probiotics.
The surprise behind my unemployment, I presume, has rapidly diminished. Alas, I cannot simply apply the brakes to the moving vehicle of marketable job skills that is "the mind of Noggle." I keep improving; call it a fault, just not my biggest weakness. Really, will anyone pour their heart into arguing against my inclinations towards verbosity (lest we relive 1300 words, give or take on a band I never plan on seeing again)?
So, with that having been said, Boiler Room has shared with the world a 45-minute DJ set, mixed live and in Detroit by Juan Atkins, and embedded after the hump. A product of the motor-city, Juan Atkins is part of the core group of musicians that innovated the sound ultimately known around the world as "Techno." As with any good story, however, Atkins's music history spans even further; he happened to start an electronica band prior to his solo debut called Cybotron. And this is about all I can tell you. The Fader happened to upload a brief 20 minute set Atkins mixed for MoMA. Yet the best introduction, relative to time invested, is this a different 2013 mix Atkins curated for BBC 6; primarily for the three-tiered approach of influences, guest mix, and favorite new music.
So much for brevity.
- John Noggle
The surprise behind my unemployment, I presume, has rapidly diminished. Alas, I cannot simply apply the brakes to the moving vehicle of marketable job skills that is "the mind of Noggle." I keep improving; call it a fault, just not my biggest weakness. Really, will anyone pour their heart into arguing against my inclinations towards verbosity (lest we relive 1300 words, give or take on a band I never plan on seeing again)?
So, with that having been said, Boiler Room has shared with the world a 45-minute DJ set, mixed live and in Detroit by Juan Atkins, and embedded after the hump. A product of the motor-city, Juan Atkins is part of the core group of musicians that innovated the sound ultimately known around the world as "Techno." As with any good story, however, Atkins's music history spans even further; he happened to start an electronica band prior to his solo debut called Cybotron. And this is about all I can tell you. The Fader happened to upload a brief 20 minute set Atkins mixed for MoMA. Yet the best introduction, relative to time invested, is this a different 2013 mix Atkins curated for BBC 6; primarily for the three-tiered approach of influences, guest mix, and favorite new music.
So much for brevity.
- John Noggle
Friday, June 6, 2014
LiftedResearchGroup presents: Brilliant Youth EP
I don't think that Alan Ginsburg is an all-time greatest liar. On a Liar Hall of Fame ballot, I'm not sure he would even make the cut. Ginsburg's status as an honorable mention, though? Difficult to dispute; mainly due to "non-existence," of an organization promoting this hypothetical museum of myths. Yet the object of my ire is not quelled. If not everyone sees the greatest minds of their generation lost to madness, then that must mean quotes, and maybe even soft knowledge at large, does not live in a hyperbaric chamber separated from the effects of time. I've been lied to!
Progress is made and new ideas, I am told, are inevitably introduced. Often times these thoughts sprout up as a product of consequence. And with time, these ideas may even be accepted by a plurality people. The same can be said for the career trajectories of Dizzy Wright and Bishop Nehru: the two MCs featured on L-R-G's three song release Brilliant Youth EP. Both spitters are unmistakably products of their environment. Both are very much East coast, lyrically inclined rappers. I type rapper, not emcee, with reason. While the origins of their respective styles have strong links in the past, they are by no means an anachronism. As is mirrored on the 9th Wonder (memorably of MURS fame) beats, the songs are sample-based and do not rely on a nostalgia. Rather, this is a new New York. The difference between contemporaries and Wright/Nehru is a noticeable lack of swagger; unlike some mobs and crews. Both artists prefer to use words in crafting their image. This is not music chronicling a scene or a movement. Individualism is the theme, self-description is the vehicle.
And under this tent of individualism a knack for positive criticism is also found. Admirably the verbal jabs do so while evading a constraint of being deemed socially conscious. Dizzy Wright, of the tape's two stars, is the performer most resembling a battle rapper. But rather than attack a resilient strawman, Wright opts for a conversational approach and consistently returns to autobiography. His bars are well metered, and if anything favor the longer end of the spectrum. As Add-2 says on his "Wreckin' Crew," guest spot, "My verses are like a used car dealer / I be giving them quotes." Bishop Nehru hijacks the spotlight soon after. The good bishop is the EP's standout, and appropriately receives the only solo track. The most noteworthy change is just how far Nehru has come is a short span of time. Even since his late 2013 mixtape, this is a man motivated by madness; otherwise his improvement left unanswered. Wright is extroverted but Nehru thrives as an introvert. It takes all kinds, and peculiarity is taken as it comes. "Isolation," is a good case. It provides a sense of voyeurism. The young rapper has honed in on a sense of cool disconnect that provides an air, not of self-reflection, but of self-conversation. The listener is suddenly forced to inhabit a role of coincidental audience. Nehru is talking to himself, but at the same time compelling ears to stay tuned because it is material too good to miss. Nehru's prose-like style only adds this this effect, unpacking flows and bars the further into his head he retreats. Unapologetically independent, this is a testament to what the "I" can create. Perhaps working on team solo only foments a sharper mental image. Regardless, reasonable doubt should be auditioned too. In the end it might just be as simple as Dizzy Wright's two reasons: money and respect. But it's different line from the self-titled track that fans can hold out hope for: "Top of the chart, but I'm trying to last for a couple of weeks." Hopefully those weeks are soon coming.
- John Noggle
Progress is made and new ideas, I am told, are inevitably introduced. Often times these thoughts sprout up as a product of consequence. And with time, these ideas may even be accepted by a plurality people. The same can be said for the career trajectories of Dizzy Wright and Bishop Nehru: the two MCs featured on L-R-G's three song release Brilliant Youth EP. Both spitters are unmistakably products of their environment. Both are very much East coast, lyrically inclined rappers. I type rapper, not emcee, with reason. While the origins of their respective styles have strong links in the past, they are by no means an anachronism. As is mirrored on the 9th Wonder (memorably of MURS fame) beats, the songs are sample-based and do not rely on a nostalgia. Rather, this is a new New York. The difference between contemporaries and Wright/Nehru is a noticeable lack of swagger; unlike some mobs and crews. Both artists prefer to use words in crafting their image. This is not music chronicling a scene or a movement. Individualism is the theme, self-description is the vehicle.
And under this tent of individualism a knack for positive criticism is also found. Admirably the verbal jabs do so while evading a constraint of being deemed socially conscious. Dizzy Wright, of the tape's two stars, is the performer most resembling a battle rapper. But rather than attack a resilient strawman, Wright opts for a conversational approach and consistently returns to autobiography. His bars are well metered, and if anything favor the longer end of the spectrum. As Add-2 says on his "Wreckin' Crew," guest spot, "My verses are like a used car dealer / I be giving them quotes." Bishop Nehru hijacks the spotlight soon after. The good bishop is the EP's standout, and appropriately receives the only solo track. The most noteworthy change is just how far Nehru has come is a short span of time. Even since his late 2013 mixtape, this is a man motivated by madness; otherwise his improvement left unanswered. Wright is extroverted but Nehru thrives as an introvert. It takes all kinds, and peculiarity is taken as it comes. "Isolation," is a good case. It provides a sense of voyeurism. The young rapper has honed in on a sense of cool disconnect that provides an air, not of self-reflection, but of self-conversation. The listener is suddenly forced to inhabit a role of coincidental audience. Nehru is talking to himself, but at the same time compelling ears to stay tuned because it is material too good to miss. Nehru's prose-like style only adds this this effect, unpacking flows and bars the further into his head he retreats. Unapologetically independent, this is a testament to what the "I" can create. Perhaps working on team solo only foments a sharper mental image. Regardless, reasonable doubt should be auditioned too. In the end it might just be as simple as Dizzy Wright's two reasons: money and respect. But it's different line from the self-titled track that fans can hold out hope for: "Top of the chart, but I'm trying to last for a couple of weeks." Hopefully those weeks are soon coming.
- John Noggle
DJ Firmeza [PDDG] & DJ Maboku [CDM] - "Nosso Mundo"
As luck has it, the week seems to be concluding much as it started. Folks, this is the sort of poetry I can only hope for...and still fail to understand. My point being this: junior english can swallow even the most resistive foe. These victims, lost labyrinth of analysis, are never heard from again. But with luck being on our side and all, we live in the internet. More than just an age, the internet is a place; and simplicity is more than a mere option. Simplicity is lifestyle choice.
"Nosso mundo" is partially a success because it manages to accomplish both. This is a song that thrives on a balance between the complex and the simplistic without over compromising either ideal. Much like an earlier DJ Maboku x DJ Firmeza work, the collaboration works on the common ground in these beatmakers' approaches. Percussion. Even the most subtle notes - the addition of a bell, showing off a roll on the hand-drum - are appreciated. Without losing any time Firmeza and Maboku working with a quick tempoed kuduro beat. Listeners, and presumably dancers, are made subject to the rhythm's tides immediately. Though the song proper does not start for fifteen seconds, no secrets are withheld. The skeleton of the track is revealed immediately, and accompanied by the drop, vocal hype starts at just about :36. While percussive elements are both added and embellished as time progresses, the number as a whole owes a bow to the bassline. Aside from the brief moment where the vocal sample escapes into the realm of melody at about :50, it is largely used as a percussive tool; assisting with any accent in sight. The bassline, to contrast, elegantly carves a harmonic role for itself; which is to say, it does more than merely descend in a three note pattern.
But why complicate matters? This is simply a very good song.
- John Noggle
"Nosso mundo" is partially a success because it manages to accomplish both. This is a song that thrives on a balance between the complex and the simplistic without over compromising either ideal. Much like an earlier DJ Maboku x DJ Firmeza work, the collaboration works on the common ground in these beatmakers' approaches. Percussion. Even the most subtle notes - the addition of a bell, showing off a roll on the hand-drum - are appreciated. Without losing any time Firmeza and Maboku working with a quick tempoed kuduro beat. Listeners, and presumably dancers, are made subject to the rhythm's tides immediately. Though the song proper does not start for fifteen seconds, no secrets are withheld. The skeleton of the track is revealed immediately, and accompanied by the drop, vocal hype starts at just about :36. While percussive elements are both added and embellished as time progresses, the number as a whole owes a bow to the bassline. Aside from the brief moment where the vocal sample escapes into the realm of melody at about :50, it is largely used as a percussive tool; assisting with any accent in sight. The bassline, to contrast, elegantly carves a harmonic role for itself; which is to say, it does more than merely descend in a three note pattern.
But why complicate matters? This is simply a very good song.
- John Noggle
Thursday, June 5, 2014
DJ Ben Staxx presents: Kev Cartier - The Plug
Baseball and and music fandom are not all that different. Both comfortably function on an interminable timeline. And don't forget the constant struggle that has evolved over time between defenders of the old guard and those leading the vanguard. Plus, as can be seen with stathead and miscellaneous bloggers, those who seem to enjoy it most devote a cult like obsession to following this lifelong interest. (Somewhere in the midst of all this, too, lies a joke on the machismo of swinging bats and throwing balls around a diamond). But as enjoyable as it is to watch a tested veteran perform a mastered craft the fanatics point of view differs. The real pleasure stems from projections. The future benefits the bold. Complementing an established figure is not nearly as gratifying as the long-term potential of being able to tell friends and family, "I told you so! I told you [blank] would make it big."
The trouble begins when the athletes and musicians become commodities. At what point is a minority of forced to entertainment of the majority? Nothing more than un-novel navel gazing, but it has the potential weigh on the conscious more than a multi-billion dollar purchase for a headset and music streaming service. Such has been the case with me and Drill music; just as trap music before this. Even if I did not buy in as quickly as others, the worst part is that my reasoning is self-serving. As great as the feeling may be - as ego inflating as is to have tangible evidence of knowing more about music - having a greater feel for the pulse of a scene - than your social circle - caution is a necessary muscle to exercise. The last thing a fan-savant wants is to be caught in the futility of a rundown on the basepath. The artist worries about the self preservation of his art. The fan only has a diminishing savings account full of time to be concerned about.
Then again, the degree to which something is good is not exclusive to its popularity. On a scale of "I only need to hear thirty seconds" to "I will be spinning this for years" Kev Cartier's (pronounced unlike the French jeweler, 'kar-tea-er') The Plug is comfortably average. Unlike other entries in the DJ Ben Staxx canon - the relatively msyterious presenter of this tape - this released lacks pop. More than a mere metaphysical or genre quality, the entirety of this mixtape seeps with the aroma of an assembly line. Admirably, however, their is not a single feature throughout the album's ten tracks. But where literal starpower lacks the supporting cast fails to live up to the challenge. It does not take longer than the first reggaeton air-horn on the second track to realize what follows is nothing terribly innovative. Unlike Johnny May Cash, the man with the most similar sound in this particular stable, it is difficult to argue in favor of Cartier's ingenuity. Which is to say, auto-tune is used within for the sake of using auto-tune, not to explore. In this sense The Plug is largely a product of derivation. Content aside, a standard trap flow is only occasionally interspersed with variety - mainly in the form of the buzzy 'Migos flow,' a less charismatic take on Lil Durk, and even remnants of Young Thug's trochaic flourishes on "Talk Ehat I'm Living" before culminating is Future-dom on "Dealer Music." Which is not to say I can do better; this is hardly the case. Luckily, bright spots are not difficult to find. While the Young Chop productions are lackluster (even if "Come and Go" includes the guilty pleasure of a trembling theremin), Nickbeats throws in a serviceable organ loop on "Trap Doin' Numbers." Chopping up portions of a song without slowing down the track like provides pleasant results on"My Line" and the aforementioned song produced by Swagg B. But "Foreign," a Doe6oyybeatz production, is by far the most fluorescent point. The number appears to utilize a slower variation of a rhythm Paris Bueller used in this Lil Durk song. Bell and whistles aside, Kev Cartier does not just record a song but sounds as if he is enjoying himself in the process; an oft forgotten feeling in a field that can take itself so serious to the point of a flaw.
- John Noggle
The trouble begins when the athletes and musicians become commodities. At what point is a minority of forced to entertainment of the majority? Nothing more than un-novel navel gazing, but it has the potential weigh on the conscious more than a multi-billion dollar purchase for a headset and music streaming service. Such has been the case with me and Drill music; just as trap music before this. Even if I did not buy in as quickly as others, the worst part is that my reasoning is self-serving. As great as the feeling may be - as ego inflating as is to have tangible evidence of knowing more about music - having a greater feel for the pulse of a scene - than your social circle - caution is a necessary muscle to exercise. The last thing a fan-savant wants is to be caught in the futility of a rundown on the basepath. The artist worries about the self preservation of his art. The fan only has a diminishing savings account full of time to be concerned about.
Then again, the degree to which something is good is not exclusive to its popularity. On a scale of "I only need to hear thirty seconds" to "I will be spinning this for years" Kev Cartier's (pronounced unlike the French jeweler, 'kar-tea-er') The Plug is comfortably average. Unlike other entries in the DJ Ben Staxx canon - the relatively msyterious presenter of this tape - this released lacks pop. More than a mere metaphysical or genre quality, the entirety of this mixtape seeps with the aroma of an assembly line. Admirably, however, their is not a single feature throughout the album's ten tracks. But where literal starpower lacks the supporting cast fails to live up to the challenge. It does not take longer than the first reggaeton air-horn on the second track to realize what follows is nothing terribly innovative. Unlike Johnny May Cash, the man with the most similar sound in this particular stable, it is difficult to argue in favor of Cartier's ingenuity. Which is to say, auto-tune is used within for the sake of using auto-tune, not to explore. In this sense The Plug is largely a product of derivation. Content aside, a standard trap flow is only occasionally interspersed with variety - mainly in the form of the buzzy 'Migos flow,' a less charismatic take on Lil Durk, and even remnants of Young Thug's trochaic flourishes on "Talk Ehat I'm Living" before culminating is Future-dom on "Dealer Music." Which is not to say I can do better; this is hardly the case. Luckily, bright spots are not difficult to find. While the Young Chop productions are lackluster (even if "Come and Go" includes the guilty pleasure of a trembling theremin), Nickbeats throws in a serviceable organ loop on "Trap Doin' Numbers." Chopping up portions of a song without slowing down the track like provides pleasant results on"My Line" and the aforementioned song produced by Swagg B. But "Foreign," a Doe6oyybeatz production, is by far the most fluorescent point. The number appears to utilize a slower variation of a rhythm Paris Bueller used in this Lil Durk song. Bell and whistles aside, Kev Cartier does not just record a song but sounds as if he is enjoying himself in the process; an oft forgotten feeling in a field that can take itself so serious to the point of a flaw.
- John Noggle
Wednesday, June 4, 2014
Khalil Nova's Pokes at Our Brains with his "Shining Fingaz"
Today is special. The beings in control of the celestial laws have a message for us, the people of Earth. All we must do is listen. This is not, of course, without conditions. One does not simply become a celestial ruler by making foolish choices. Rather than make the human species privy to this information, these higher ups have enlisted an otherworldly messenger...space sourcing, if you will. So who has this sacred duty been entrusted to?
This is not Khalil Nova's first journey to our less than humble planet. His initial voyage, if you must know, occurred sometime in the year 2002; amazingly not even space visitors can circumvent man's self-imposed trials and tribulations for gaining legitimacy. Which is why - or at least I assume so - the ancient kemetic emcee does not begin deconstructing the heaven's codes for us, mere mortals, until 2011. Since then, this entity whose human has been reported to resemble a black version of the late Alice in Chains singer, Layne Staley, has amassed northward of ten official releases. In the process the likes of Gamera, Silkky Johnson, and Akumasanti have all been co-conspirators. Zone6 Sinister, as always, keeps the pilot company.
On "Shining Fingaz," Nova's trademark distorted vocals - that distant voice, a precious relic from a long decrepit ancient space civilization, nonetheless still light years ahead of mankind - are surprisingly absent. Does it take away from the overall track? Hardly. Lord Nova's strong suit, after all, has always been his skits and remixes; the purely instrumental tracks (see: "Aqua," "Divine P4r4d1se Island Trees Of Archanfel," or the very recent, "Aka$hic Records") are where he shows off. "Shining Fingaz" is no exception. A return to samples from his beloved Dragon Ball franchise was long in order, at any rate. And the biggest surprise is kept in the rhythm section. Signaling a continuation of the trend from his last two releases - F*I*N*D and 808s of Death 2 - Nova plays with the bassline as a source of melody. The ambiance, or everpresent "haze," is, as always, a inimitable tag but does not mug ears for attention. In maturity Nova is allowing listeners to appreciate the multiple facets of his compositions; even diversifying his percussion at around 0:52 by throwing some cymbals in the mix to provide a low-key drop inactive listeners will undoubtedly miss. At this point we can only hope to one day advance our feeble homosapien awareness to a point where we can fully grasp the Nova.
- John Noggle
This is not Khalil Nova's first journey to our less than humble planet. His initial voyage, if you must know, occurred sometime in the year 2002; amazingly not even space visitors can circumvent man's self-imposed trials and tribulations for gaining legitimacy. Which is why - or at least I assume so - the ancient kemetic emcee does not begin deconstructing the heaven's codes for us, mere mortals, until 2011. Since then, this entity whose human has been reported to resemble a black version of the late Alice in Chains singer, Layne Staley, has amassed northward of ten official releases. In the process the likes of Gamera, Silkky Johnson, and Akumasanti have all been co-conspirators. Zone6 Sinister, as always, keeps the pilot company.
On "Shining Fingaz," Nova's trademark distorted vocals - that distant voice, a precious relic from a long decrepit ancient space civilization, nonetheless still light years ahead of mankind - are surprisingly absent. Does it take away from the overall track? Hardly. Lord Nova's strong suit, after all, has always been his skits and remixes; the purely instrumental tracks (see: "Aqua," "Divine P4r4d1se Island Trees Of Archanfel," or the very recent, "Aka$hic Records") are where he shows off. "Shining Fingaz" is no exception. A return to samples from his beloved Dragon Ball franchise was long in order, at any rate. And the biggest surprise is kept in the rhythm section. Signaling a continuation of the trend from his last two releases - F*I*N*D and 808s of Death 2 - Nova plays with the bassline as a source of melody. The ambiance, or everpresent "haze," is, as always, a inimitable tag but does not mug ears for attention. In maturity Nova is allowing listeners to appreciate the multiple facets of his compositions; even diversifying his percussion at around 0:52 by throwing some cymbals in the mix to provide a low-key drop inactive listeners will undoubtedly miss. At this point we can only hope to one day advance our feeble homosapien awareness to a point where we can fully grasp the Nova.
- John Noggle
Dj EDyFoOx [CDM] - E A fomeé
I have reached a point where patience can only benefit me. The reason is that I have begun waiting for a Kuduro producer to debut with the stage-name DJ Starfox64 (three-dimensions and barrel rolls not included). A bit convoluted, no disagreement here, but is it any devolution from this current state of DJ naming? Like Mexican wrestling, the act of DJing often centers on the creation of a persona, with varying degrees of mask based importance. These figures behind the laptops embody an attitude the party will ultimately, hopefully, latch on to with all the ferocity of a teenage couple at prom.
It began with DJ Marfox; easy enough to understand. The tepid waters of the Iberian peninsula, however, have become more difficult for me to navigate with every stroke. World famous rocks aside, I refer specifically to the slew of beatmakers that take on pseudonyms varying on the original '-fox' suffix. Their is also DJ Vanyfox, the walking Richard Pryor joke DJ Niggafox, and today's addition to the collection DJ Ediifox.
After acknowledgement that the play button exists, attention is drawn away from the surrounding atmosphere and towards this tune. As with the last Ediifox song CDM dropped, the rhythm, at first, sounds cut-up or disjointed. Ears curated by western hemisphere sounds may feel a reggaeton or dance hall flavor underlying the zouk beat. Without overindulging, though, the pleasure continues in the form of the bassline: a call to action. But the real energy is not released until after the gun shots. The tempo never slows down. The energy does not subside. Techno glitches are heard subtly throughout the track but at no point does it take away from the high energy dancing promoted by "E a fomeé," its intention first and foremost.
- John Noggle
It began with DJ Marfox; easy enough to understand. The tepid waters of the Iberian peninsula, however, have become more difficult for me to navigate with every stroke. World famous rocks aside, I refer specifically to the slew of beatmakers that take on pseudonyms varying on the original '-fox' suffix. Their is also DJ Vanyfox, the walking Richard Pryor joke DJ Niggafox, and today's addition to the collection DJ Ediifox.
After acknowledgement that the play button exists, attention is drawn away from the surrounding atmosphere and towards this tune. As with the last Ediifox song CDM dropped, the rhythm, at first, sounds cut-up or disjointed. Ears curated by western hemisphere sounds may feel a reggaeton or dance hall flavor underlying the zouk beat. Without overindulging, though, the pleasure continues in the form of the bassline: a call to action. But the real energy is not released until after the gun shots. The tempo never slows down. The energy does not subside. Techno glitches are heard subtly throughout the track but at no point does it take away from the high energy dancing promoted by "E a fomeé," its intention first and foremost.
- John Noggle
Tuesday, June 3, 2014
The Holdout is Worth the Wait
I am astonished. I have just heard the phrase "Bitch, Fidel Castro," and realized these words, in this order, have no niche in our society. A phrase that accomplishes more in three words that the average college student completes before noon, and I have no specific usage for it. Outrageous! Before you are five syllables that tie together the incongruous with the profane; and still it sotre enough ammunition for ulterior plans. And from whence is such a phrase born? A song titled "Trill Co$by," the 9th track on The Holdout EP, care of Houston musicians, and sentence innovators, Cee$pitz and Don Munchie
Despite my words, AFE Union's logo covers all my writing so far without making a sound. A multicolored hamsa, along with a superimposed psilocybin mushroom that is careful not to obscure the all-seeing eyeball in its center, adorns the top of their Bandcamp page. It serves as proverbial welcome-mat at the door of this group's intention. The inverted hand stares out of the computer screen as if to say, first, “this is not music that owes its listeners an explanation”; but more on this later. The second is more of a recommendation: open minds are preferred but not necessary.
T-Rell, $ir Charles, Jayso the Miracle Kid, Don Munchie, and Cee$pitz as a whole make up the Houston based crew AFE Union. Together they have been active since since 2010, but the focus of this review has a more narrow gaze: the latter two members and the collaboration project they released on the 28th of May. Now the blinders come off because the strong point of this release is in its inherent wide ambition. The Holdout EP manages to break geographic boundaries which technology has already loosened. Despite the immediate references to southeast Texas - Big Moe, Paul Wall, Fat Pat, and DJ Screw - the sounds attributed to these names do not confine this new generation of artists; all of which is best observed in the audacity to not rely of the “Screw effect” or pitch/speed changes, but rather use it both sparingly and pointedly throughout.
Cee$pitz appears to feel as comfortable utilizing a traditional East-coast "lyrical" style - one could say, in the vein of supposed underground rap - just as much as the stylistic delivery of the south. Atlanta and New York are, after all, on the same coastline. Appropriately, the production enables the emcee; cues are readily picked up and the tempo is adjusted accordingly. The listener is never subjected to the droning of a monotonous flow. If nothing else, this is the primary reason for why the end product sounds summarily polished; and if this reviewer can have any guess on the matter, it would likely revolve around the line, “Staying on my grind, and mastering my craft” from the track “Kiss my Ass.”
The content is largely autobiographical: a necessity just as much as an inevitability. These songs are not composed to create a character or an image. Self-expression is the purpose; to do so in a way that is unique to the two auteur’s personalities is the endgoal. In this sense it is a product that audiences can take or leave. Which is to say, over time the overall feel is unlikely to change. The cornerstone of these sounds, after all, are their insulatory nature. The input (influences) have been just as carefully selected as the output. Popular convention. however, has not been entirely pushed aside. As in his previous release, Songs from My Room, where Cee$pitz uses auto-tune for “Know Me”, The Holdout EP shows a propensity for awareness of modern tastes. Do not fret, snare rolls can still be found throughout - not to mention that “DWI” and “Werk” are certifiable bangers, despite the aforementioned “Trill Co$by” and its anarchic samples conspiring to create the strongest number.
Despite my words, AFE Union's logo covers all my writing so far without making a sound. A multicolored hamsa, along with a superimposed psilocybin mushroom that is careful not to obscure the all-seeing eyeball in its center, adorns the top of their Bandcamp page. It serves as proverbial welcome-mat at the door of this group's intention. The inverted hand stares out of the computer screen as if to say, first, “this is not music that owes its listeners an explanation”; but more on this later. The second is more of a recommendation: open minds are preferred but not necessary.
T-Rell, $ir Charles, Jayso the Miracle Kid, Don Munchie, and Cee$pitz as a whole make up the Houston based crew AFE Union. Together they have been active since since 2010, but the focus of this review has a more narrow gaze: the latter two members and the collaboration project they released on the 28th of May. Now the blinders come off because the strong point of this release is in its inherent wide ambition. The Holdout EP manages to break geographic boundaries which technology has already loosened. Despite the immediate references to southeast Texas - Big Moe, Paul Wall, Fat Pat, and DJ Screw - the sounds attributed to these names do not confine this new generation of artists; all of which is best observed in the audacity to not rely of the “Screw effect” or pitch/speed changes, but rather use it both sparingly and pointedly throughout.
Cee$pitz appears to feel as comfortable utilizing a traditional East-coast "lyrical" style - one could say, in the vein of supposed underground rap - just as much as the stylistic delivery of the south. Atlanta and New York are, after all, on the same coastline. Appropriately, the production enables the emcee; cues are readily picked up and the tempo is adjusted accordingly. The listener is never subjected to the droning of a monotonous flow. If nothing else, this is the primary reason for why the end product sounds summarily polished; and if this reviewer can have any guess on the matter, it would likely revolve around the line, “Staying on my grind, and mastering my craft” from the track “Kiss my Ass.”
The content is largely autobiographical: a necessity just as much as an inevitability. These songs are not composed to create a character or an image. Self-expression is the purpose; to do so in a way that is unique to the two auteur’s personalities is the endgoal. In this sense it is a product that audiences can take or leave. Which is to say, over time the overall feel is unlikely to change. The cornerstone of these sounds, after all, are their insulatory nature. The input (influences) have been just as carefully selected as the output. Popular convention. however, has not been entirely pushed aside. As in his previous release, Songs from My Room, where Cee$pitz uses auto-tune for “Know Me”, The Holdout EP shows a propensity for awareness of modern tastes. Do not fret, snare rolls can still be found throughout - not to mention that “DWI” and “Werk” are certifiable bangers, despite the aforementioned “Trill Co$by” and its anarchic samples conspiring to create the strongest number.
And as the record progresses so do the sounds. With each passing track the music becomes increasingly experimental, until it culminates in the syncopated and off-beat glory rapped of the last song, “Wet Jame$.” The conclusion is abundantly clear. This is good music. It is comfortable creating something pleasant just as much as it is in making a challenging proposition. The ultimate take-away is that which these artists are decidedly still coming to be, the ceiling is high. Hopefully this is just the beginning.
- John Noggle
Dj MaboOku [CDM] & DJ Firmeza [PDDG] - "Remix"
No more than a week ago I thought to myself, "Following DJ Firmeza on SoundCloud has been one of my better internet decisions in a while." As I risk recounting my harrowing tale of a series of poor decisions - which led me down a dark, and for that matter, unending, vaprowave hole - I will stick to my realization. Positive reinforcement has corrected my path. It goes without saying I have had no change of opinion. Recent events have really just further entrenched my stance.
DJ Firmeza is a PDDG (Piquenos DJs do Ghetto or Junior DJ of the Ghetto) affiliated producer/beatmaker/song releasing fiend. Aside from the "rhythm for days" credo seeping through every one of the firm three-minute of his consistent and incorrigible joints, Firmeza has an added advantage. On the periphery Firmeza has the intangible tool of being at the center of the new wave of Portuguese EDM (written about here much better than I could ever summarize); essentially a middle point to the loosely based collective of affiliates, cliques, independents, and miscellaneous dreamers with a copy of FruityLoops.
And the latest addition to this genre's ever-expanding online canon (embedded after the jump) is a collaboration with fellow DJ and PDDG friend DJ Maboku of the CDM crew (and who has a nice introductory set just over yonder). "Remix" is a decidedly different track from the beginning but works well, nonetheless, in large part due to these two producer's affinity for a percussion base. Contrary to the running theme of unrelenting and immediate speed, the song starts with a vocal intro and eases into the groove. Not all together different from the Principe, however, the beat is characterized by not relying solely on a 4/4 signature. Concise samples are abound; in this case using Portuguese dipthongs as the reference points for loops. The most rewarding aspect is yet to come, though, as it lies beyond the ambient harmony. My less than professional recommendation? Wait for the doting bassline that comes in at just about 1m30s.
- John Noggle
DJ Firmeza is a PDDG (Piquenos DJs do Ghetto or Junior DJ of the Ghetto) affiliated producer/beatmaker/song releasing fiend. Aside from the "rhythm for days" credo seeping through every one of the firm three-minute of his consistent and incorrigible joints, Firmeza has an added advantage. On the periphery Firmeza has the intangible tool of being at the center of the new wave of Portuguese EDM (written about here much better than I could ever summarize); essentially a middle point to the loosely based collective of affiliates, cliques, independents, and miscellaneous dreamers with a copy of FruityLoops.
And the latest addition to this genre's ever-expanding online canon (embedded after the jump) is a collaboration with fellow DJ and PDDG friend DJ Maboku of the CDM crew (and who has a nice introductory set just over yonder). "Remix" is a decidedly different track from the beginning but works well, nonetheless, in large part due to these two producer's affinity for a percussion base. Contrary to the running theme of unrelenting and immediate speed, the song starts with a vocal intro and eases into the groove. Not all together different from the Principe, however, the beat is characterized by not relying solely on a 4/4 signature. Concise samples are abound; in this case using Portuguese dipthongs as the reference points for loops. The most rewarding aspect is yet to come, though, as it lies beyond the ambient harmony. My less than professional recommendation? Wait for the doting bassline that comes in at just about 1m30s.
- John Noggle
Monday, June 2, 2014
The Return - a Reintroduction
"I cannot guarantee that you will always be entertained. I am in no position to assure your satisfaction. What I can say with unabashed certainty is that if you make the decision keep up with this in some manner, you are poised to witness something special somewhere either in the festering lands of spectacular failure or the pristine-ness of success mountain." - Post #1: A Stated Purpose
And with the benefit of time now at our disposal, anyone in a position to judge is able to speak with certainty. 17 posts later, the ultimate destination of this project was an unwelcoming - and, frankly, at times putrid smelling - lagoon; a humid and non-descript outpost of its own unbearable creation. A 'spectacular failure,' though, might be a stretch. This is a word pairing even the most void of shame euphemism will shy away from. Or have I inadvertently written the best piece of ad-copy since the brochure establishing Arizona as a hot-spot for worldwide tourism?
The truth is that my fleeting success is nothing glorious. Work equipment was abandoned, the crew was stranded, and any and all plans were aborted; and for what it matters, blame can only be placed on my head: the source of these ideas. In hindsight, the groundbreaking of this blog began, perhaps, on an unsturdy foundation. Unrealistic goals set to be reached on a fairytale timeline. Building codes were ignored. The slow but deliberate gentrification of an undisputably repulsive construction site was left to its own resources.
So when the structure came tumbling down it happened in an instant - with one fell swoop and without warning, a poorly written, and needlessly long, conclusory sentence not withstanding. The slow trickle of news from within the new and mysterious compound, from whence decisions seemed to emanate, ceased. Like a spurned produce company at the height of the imperial age, it appeared that all investment had suddenly been withdrawn. The hundreds, and some might even say, incorrectly, thousands of remaining residents were left to their own devices. Essentially I, reluctantly in charge, retreated into my own mind. I chose only to venture out sporadically and without a stated purpose. The root cause lies at the foot of the most fervently formidable foe; and sometimes the roots of this foe have spread deeper into the heart of its prey than a redwood to Earth's womb.
Luckily the damaged structure appears to be buoyant; or so I learned after a brief visitation. Conjuring memories of the Grand hotel, on that Lake Geneva shoreline, nonetheless, the ruins' resting place were given away by its rudimentary flares and smoke signals upon the water's surface. The remaining pieces were scattered and the original intention long forgotten. Unfortunately, though, the same foreman appears to have found a new sense of purpose...
Now that I have typed that unreadable metaphor out of my system, I can speak to you directly; no frills at all; less frequently, at best, if luck's kind ways win out in the end. I shan't even use a pick-up line. Look, even from a distance I noticed how nice you look. But having a better view now I can tell you really are different. How about a second first date? I am re-tooled and re-energize.d I have new ideas and an embarrassment of time to express them. So long as I keep expectations at about the same level as a powerlifter's bench press - perfect for pushing towards a goal - success should be attainable. If nothing else this is the insurance policy I have taken out on myself; a way to assure this remains a fun way to pass the time and not so much a needless source of stress.
But what of your return on investment this time around? I have a hard time imagining an opposition to shorter posts. The content of this most succinct spectacle should be purposely diverse, painfully niche-y, but exercise discrepancy overall. And the frequency, well, grind ipsa loquitur.
- John Noggle
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