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
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