The professor has returned! Students receiving guidance from pupils past can rest assured: the course remains the same. Teaching materials, however, are not identical. The class being taught may posses a code beginning with 'HAT' - and a specialty group of upper-class students may be the target - but no one is interesting in passing on the finer points of becoming a 'Hater.' The best educated musician on the internet will not merely peddle a self-help course. It only takes one look at the syllabus to notice that the good professor used his sabbatical wisey. Case-study after case-study, intensely research before publication: you are watching scholar at work. Where ivory towers are concerned, the structure is more status symbol than metaphor. It remains to be answered question when exactly the solid gold drawbridge will be installed.
Silkky Johnson's pseudonym has been subtly altered. Some may say it is still a reference Dave Chapelle's character at the Player Hater's Ball. But this producer is more than a novelty. Internet born, and Harvard trained, Silkky Johnson has three beat tapes under his belt and only one is titled Player Hater of the Year. His body of work - rounded out by Instrumentals, Vol. 1 and Debauched Legend - can best be described like a sizable portion of cloud-rap circles: a codeine-marijuana cross-fade. But compression aside, Silkky is different. His beats have reached legends of the Bay like Green Ova and Lil B, and Houston disciples like Western Tink and A$AP Mob because it is more than ambient voices speaking words indistinguishable from a screwed-up birdsong. Silkky uses a wide breadth of influence and inspiration to his advantage, avoiding standardized drum tracks all the while.
Silkky's first published work in a year does not look to avoid his collegiate legacy. Rather, "Werk That," expands on the past. The main contrast to previous tracks is the collaboration with a female R&B vocalist. Alas, the track's texture is bears a notable resemblance to Johnson signatures. An ambient haze is felt alongside the synth's depth. Peripheral sounds provide elements of surprise and aesthetics. The rhythm section, though, best reflects of the beat's quality. Mica J's voice - pleasant, though not excessively noteworthy beyond the odd vocal run - is never overshadowed. This is a pragmatic beat. The bass is stern but the finger snaps are soft as the snare rolls are not overused, fitting comfortably into their role as a cue for the chorus. It can senselessly be said that the song ultimately reeks of an an artist development firm. But truth be told I would rather be unobjective and say the clean, pop-friendly vibes are just one step closer to the man's goal of working alongside Rick Ross.
- John Noggle
Thursday, July 31, 2014
Deejay Bubas [Filha da Mãe Produções] - "Mix Afro 2014"
“Tudo, tudo, tudo, tudo, tudo que e novo toca aqui, toca aqui, toca aqui, qui, qui, qui” are the first sounds listeners hear. Despite an emphasis on the recent, this phrase is not uttered with urgency - and if anything is missing, it is an air of authority. Yet both messages merit attention, even if trust must be placed blindly on this disembodied voice of anonymous populism. A split second decision must be made. Time is not an ally. Tension is building. Not ten seconds go by before the snare and kick drum begin. An ambient harmony and a cymbal arrive, when suddenly the beat stutters. Those who have stayed are exposed to, and begin moving their hips for, a mid-tempo kuduro. Not a single tear is shed for the prematurely departed. At present, the only concern revolves around enjoying this moment.
Were a government to issue this music a passport, its cover would most certainly be red and the spelling Portuguese. Its roots sprout forth from the fertile land of wine corks past, so the sounds can freely roam the European continent. If ancestry is the issue, though, one’s sights must be set much further. So much so that gazes wearily venture southward, without a chance to rest until they reach another continent. The destination is the West African country of Angola; a former colony of Portugal. This is the land where kuduro, tarraxinha, zouk, semba, batida, and kizomba began. With these sounds bands such as Jovens da Prenda and N’Goma Jazz carved a national pride. Commonly fusing aesthetics from the Greater Antilles with rock instrumentation, Angolans developed a sound all their own. With northward migration, Angolans’ music retains an element of communal binding and legacy preservation. The difference brought on by the passage of time is a move away from guitars and timbales and towards for computer monitors and synthesizers.
Lasting all of seven songs, and averaging 1:30 per track, DJ Bubas updates the status of this musical with “Mix Afro 2014.” What follows is a collection of largely kuduro tracks. First up is a song that features spoken vocals; a phenomenon appearing throughout. After two-minutes, the number fades out and a batida fades in. This manner of transitioning is the mix’s primary detriment. Momentum may not be sacrificed but fluidity is lacking throughout the first half. Alas, once the repetition of Os Detroia’s popular “No faz isso bella” - though not the whole entire chorus - is reached, the mix settles into a groove. Suspense is built and anticipation grows. Variety and range are never in shortage as Bubas effortlessly switches from kuduro to zouk to batida and back. A 4/4 bass may used in an effort to maintain consistency, but bass-play can still briefly be heard. A pleasant listen that, if nothing else, whets the appetite for this still evolving cuisine.
- John Noggle
Wednesday, July 30, 2014
Black$ea Não Maya - “mix batidas di gueto”
The oceans are vast and varied: a wide, wet expanse where the forces of unseen currents reign. Difficult to manage and nearly impossible to control, this environment is harsh and unpredictable. Survival in these conditions is a matter of resourcefulness. Prior knowledge is useful. But the key to thriving is adaptation. As it turns out, a supple, buoyant mind proves to be a most formidable flotation device; a testament to the many hats a cranium can wear.
For this reason, relevant courses should be taken if at all available. Preparedness must be exploited to its full potential. Luckily, the set Black$ea Não Maya released last week is akin to such a class. Allow this crew to be your teacher. Disclaimer time: listening to this nearly eleven-minute mix will not yield expertise. Listeners are not given the tools to compose this style of music. Instead, what “mix batidas do gueto” accomplishes is a presentation - a veritable case study - on the Lisbon's contemporary dance music. Afterwards, a willing audience can differentiate between a par, sub-par, and above-par track as beat after kuduro beat hammers cognizance into their mental rafts. These true sound of their gueto.
Lasting all of ten minutes and forty five seconds, “mix batidas di gueto,” is exceedingly brief on paper. The average length of a track (of which seven can be heard) is a shade above 1:30. Yet the design is optimal, because these beats do not require more time. A party is not being directed, a mix is being curated; and what follows is hardly a glorified playlist. BNM has taken measures to assure astonishing fluidity from the beginning. A mid-tempo kuduro beat with hushed vocals - followed by those of children - and chimes serve as a a gentle lead-in. A theme of smooth transitions develops. A new set of vocals, alongside a drum fill, provide the route towards a second track. The warm-up now concluded, percussion is phased out. Sounds of a bridge provide the next transition, safe passage into the heart of the mix. Alongside the BNM credited songs, MaboOku, Firmeza and Vanyfox are heard. Momentum is consistent even through moments of rhythmic respite. A 4/4 bass gives an incidentally mild house flavoring throughout, though its purpose is to tie the collage together. Near the end, the one and only eccentricity is heard. A xylophone track normally recognized in introductions rather than an outro inventively appears. What follows is a good mix because of both the music and a crew whose finger rests on the pulse of their neighborhood.
Monday, July 28, 2014
Dj CiroFox [L.S Produções] - "Malandro do Mercado"
Before the sound of the crash cymbal fades, an errant bass drum makes its sudden entrance. At present, nothing more than a practice session unfolds. A hi-hat and snare drum also happen to be using this opportunity to warm-up within the vicinity. What appears before the listener is nothing short collective disorganization - it will not, however, last much longer. Dj CiroFox, as the disembodied voice proclaims, is within earshot. Direction will be given sooner rather than later; and when that occurs, the urgency will be palpable through the subwoofer. The once lackadaisical attitude of the introduction will be sorely missed.
Not being personally familiar with the man, CiroFox is an enigma. Another independent from the city of Queluz-Pendão, north of the River Tejo, this beat-maker rests easily in the upper regions of the BPM spectrum. Which is to say that the head honcho at L.S Produções is a kuduro producer by trade, able to lay down a track with alarming ease. Interestingly, though, this proverbial specialist is willing to explore beyond the confines of his natural habitat. Aside from the odd hip-hop beat, CiroFox has released formidable collaborations with Casa de Mãe mainstays DJ LiloCox and Finicox. As it happens to be, "O Malandro do Mercado," is a song that follows in this vein.
Introductory motions now concluded, the bass takes charge. Its five-part phrase establishes a rhythmic identity for "O Malandro do Mercado," and its tempo is fast. The beat is appropriately busy. While the hi-hat quietly follows the bass, a third indistinguishable piece of percussion creates a hypnotic effect; typical in batidas, it is suddenly plausible to become lost within the drums. As the song continues, and second section begins, the bass becomes evermore important. Without the inclusion of a synthesizer or melodica, the track's rhythmic foundation is forced to lead the melodic charge as well. The cymbal and miscellaneous percussion remain consistent while the bass evolves into shorter phrasing and two-bars. What can be likened to a miniature bridge plays just prior to the minute mark. The song now enters a full-loop of its two sections. A frugal but very efficient song in terms of tools - only the most basic resources are gathered and put into place - its most interesting quality is the asymmetry. Because the duration is just short of an album length track, the beat fails to fully loop back to 'A.' Ultimately, this song is ripe for a remix. The lack of extraneous effects avoid a novelty effect, but also proves to be a source of monotony.
- John Noggle
Not being personally familiar with the man, CiroFox is an enigma. Another independent from the city of Queluz-Pendão, north of the River Tejo, this beat-maker rests easily in the upper regions of the BPM spectrum. Which is to say that the head honcho at L.S Produções is a kuduro producer by trade, able to lay down a track with alarming ease. Interestingly, though, this proverbial specialist is willing to explore beyond the confines of his natural habitat. Aside from the odd hip-hop beat, CiroFox has released formidable collaborations with Casa de Mãe mainstays DJ LiloCox and Finicox. As it happens to be, "O Malandro do Mercado," is a song that follows in this vein.
Introductory motions now concluded, the bass takes charge. Its five-part phrase establishes a rhythmic identity for "O Malandro do Mercado," and its tempo is fast. The beat is appropriately busy. While the hi-hat quietly follows the bass, a third indistinguishable piece of percussion creates a hypnotic effect; typical in batidas, it is suddenly plausible to become lost within the drums. As the song continues, and second section begins, the bass becomes evermore important. Without the inclusion of a synthesizer or melodica, the track's rhythmic foundation is forced to lead the melodic charge as well. The cymbal and miscellaneous percussion remain consistent while the bass evolves into shorter phrasing and two-bars. What can be likened to a miniature bridge plays just prior to the minute mark. The song now enters a full-loop of its two sections. A frugal but very efficient song in terms of tools - only the most basic resources are gathered and put into place - its most interesting quality is the asymmetry. Because the duration is just short of an album length track, the beat fails to fully loop back to 'A.' Ultimately, this song is ripe for a remix. The lack of extraneous effects avoid a novelty effect, but also proves to be a source of monotony.
- John Noggle
Friday, July 25, 2014
D'Cantwo Junior & LyCOox [TMP] - Verão 3D
Three days ago two small, blonde haired children stopped my forward progress. As I approached a stop sign just around the corner from home, they began shouting. No sooner did light reflect off the leaves from a nearby tree when I realize this impediment was not random. The idealistic youth were seeking more than an embrace from this urban nature. Green was both the color of the leaves and the cash firmly gripped in their tiny fists. Lemonade - free from the confines of food handling regulations and liberated from the burden of providing consumers with nutritional facts - was the swill these little girls attempted to peddle my way. With 114 degree highs, though, this is not too rare a sight. Summer has entered its full swing.
The changing of seasons, not unlike reaching a milestone, is ripe with potential memories. Like wedding or a graduation, summertime is about moving enjoyment. An anthemic song does more than provide a theme; a fitting soundtrack. The sense of hearing, like the sense of smell or reviewing a forlorn sight, conjures up a slew of emotions. An ideal "song-of-the-summer" plucks the both heartstrings of an instrument and the (at a fixed point in the past). And with the passion "Fancy" and "Blurred Lines" have brought forth the past two years, it is easy to forget that "song-of-the-summer" can have either "the" or "a" preceding it. That being said, LyCoOx has found yet another Lisbon based artist to work with. D'Cantwo Jr, together with the resident TMP Frenchman, make a last-ditch case for opening up the collective summer playlist to include just one more jam.
A vaguely baroque synthesizer introduces listeners to "Verão 3D." Once the ambient backdrop, alongside another synth and soime MIDI strings, the truth becomes clear. These producers have spared no resources in creating an inoffensive sound. Thirty seconds fully used and effectively so, leading seamlessly into the song's chorus. The phrases, standard in length and pleasant sounding, are as gentle as their corresponding mid-tempo kuduro beat. "Verão 3D," could just as easily be used as the basis for a kizomba demo; which is not to say the song forces the composers to make compromises where integrity is concered. Pop is only a sensation. The song's sole drum pattern is assisted by an uninspiring four-part bassline just as much as but a the woodblock in its supplemental rhythmic role. At just about the minute mark the song enters its first verse. Ambient dressing now discarded, the initial synth is bare. Being the formulaic attempt at creating a summer dance tune of these two minds, however, their synth merely loops before being rejoined by the strings. Following the standards handbook, the second chorus is followed by a unique synthesizer portion. A Third chorus leads into the track's outro and so concludes this lighthearted number. Enjoyable and light, much like summer: not everything requires excruciating examination. Relish in a nice, harmless song.
- John Noggle
The changing of seasons, not unlike reaching a milestone, is ripe with potential memories. Like wedding or a graduation, summertime is about moving enjoyment. An anthemic song does more than provide a theme; a fitting soundtrack. The sense of hearing, like the sense of smell or reviewing a forlorn sight, conjures up a slew of emotions. An ideal "song-of-the-summer" plucks the both heartstrings of an instrument and the (at a fixed point in the past). And with the passion "Fancy" and "Blurred Lines" have brought forth the past two years, it is easy to forget that "song-of-the-summer" can have either "the" or "a" preceding it. That being said, LyCoOx has found yet another Lisbon based artist to work with. D'Cantwo Jr, together with the resident TMP Frenchman, make a last-ditch case for opening up the collective summer playlist to include just one more jam.
A vaguely baroque synthesizer introduces listeners to "Verão 3D." Once the ambient backdrop, alongside another synth and soime MIDI strings, the truth becomes clear. These producers have spared no resources in creating an inoffensive sound. Thirty seconds fully used and effectively so, leading seamlessly into the song's chorus. The phrases, standard in length and pleasant sounding, are as gentle as their corresponding mid-tempo kuduro beat. "Verão 3D," could just as easily be used as the basis for a kizomba demo; which is not to say the song forces the composers to make compromises where integrity is concered. Pop is only a sensation. The song's sole drum pattern is assisted by an uninspiring four-part bassline just as much as but a the woodblock in its supplemental rhythmic role. At just about the minute mark the song enters its first verse. Ambient dressing now discarded, the initial synth is bare. Being the formulaic attempt at creating a summer dance tune of these two minds, however, their synth merely loops before being rejoined by the strings. Following the standards handbook, the second chorus is followed by a unique synthesizer portion. A Third chorus leads into the track's outro and so concludes this lighthearted number. Enjoyable and light, much like summer: not everything requires excruciating examination. Relish in a nice, harmless song.
- John Noggle
Thursday, July 24, 2014
Deejay Bubas [Filha da Mãe Produções] - "Tarraxo Malandro"
Dj Bubas is a single fish in a sea of full of schools. Whereas the country's capital - as well as the more well known dance music collectives - resides in the District of Lisbon, this individual finds home in the city of Quelez-Pendão; north of the River Tejo and LIsbon. The District of Setúba, however, is not void of musical activity. TDM's Deejay WeLiiFox both lives in the general area, meanwhile DJ CiroFox happens to also claim Pendão as his hometown. Essentially, a lower profile is no cause for alarm. Bubas has his references are in order. It is the listener's onus whether or not this producer merits a chance to be heard.
Intriguingly, the act of being a solo artist has not prevented Bubas from gaining aural similarities to northern counterparts. Of even greater interest, where the music is concerned, is that this producer's nearest comparisons are Dj Fimeza of PDDG fame and CDM's DJ MaboOku. And furthermore, this co-billing is not in the interest of hype; Bubas has not made a secret of his admiration for Casa de Mãe. The quality of these three beatmakers' outputs certainly overlap but it is the minutiae that draws them together. A Bubas number will feature traditional melodic elements; if anything, free-reeds and mallet based percussion are warmly embraced. Rhythm, however, is the main attraction. A kuduro or batida credited to Bubas is marked by an effortless ability; a frequent inclination to make use of three or four independent pieces of percussion is shown. The audience is placed in a state of hip shaking trance.
"Tarraxo Malandro," is not the first Bubas song in this style. The track is long by the standards his oeuvre, but duration alone does not set it apart. A brief collection of sounds from nature transports listeners to an organic hall. Once there, the kick drum works with a floor tom; a path is cleared for the cymbal to enter. A deceivingly lengthy and well layered introduction unfolds as this tarraxo's three moving parts give it batida flavoring - unity in opposition. About thirty-five seconds into "Tarraxo Malandro" a transition begins: four beats, a crash cymbal, and a deep voice announce the first section. The move is completed seamlessly because no elements are removed. Only one piece of percussion is added by the time a child wanders into the scene. Suddenly, just past the minute, a phoneme is vocalized to highlight syncopation. Key to this second section is the cymbal and its change in pattern. The importance cannot be overstated because it also marks a return to the original beat at about a minute and a half; nearly indistinguishable from the second seeing as the vocals remain until the end.
"Tarranxo Malandro" is summarily above average. Just the wholesale dejection of a melody alone avoids standardization. And by force, the track must be interesting with one section and five elements. What few tools are made available must be used to their full ability. The fact that sufficient variety and surprise is found to complete an ultimately interesting project is nothing more than well deserved gloating.
- John Noggle
Intriguingly, the act of being a solo artist has not prevented Bubas from gaining aural similarities to northern counterparts. Of even greater interest, where the music is concerned, is that this producer's nearest comparisons are Dj Fimeza of PDDG fame and CDM's DJ MaboOku. And furthermore, this co-billing is not in the interest of hype; Bubas has not made a secret of his admiration for Casa de Mãe. The quality of these three beatmakers' outputs certainly overlap but it is the minutiae that draws them together. A Bubas number will feature traditional melodic elements; if anything, free-reeds and mallet based percussion are warmly embraced. Rhythm, however, is the main attraction. A kuduro or batida credited to Bubas is marked by an effortless ability; a frequent inclination to make use of three or four independent pieces of percussion is shown. The audience is placed in a state of hip shaking trance.
"Tarraxo Malandro," is not the first Bubas song in this style. The track is long by the standards his oeuvre, but duration alone does not set it apart. A brief collection of sounds from nature transports listeners to an organic hall. Once there, the kick drum works with a floor tom; a path is cleared for the cymbal to enter. A deceivingly lengthy and well layered introduction unfolds as this tarraxo's three moving parts give it batida flavoring - unity in opposition. About thirty-five seconds into "Tarraxo Malandro" a transition begins: four beats, a crash cymbal, and a deep voice announce the first section. The move is completed seamlessly because no elements are removed. Only one piece of percussion is added by the time a child wanders into the scene. Suddenly, just past the minute, a phoneme is vocalized to highlight syncopation. Key to this second section is the cymbal and its change in pattern. The importance cannot be overstated because it also marks a return to the original beat at about a minute and a half; nearly indistinguishable from the second seeing as the vocals remain until the end.
"Tarranxo Malandro" is summarily above average. Just the wholesale dejection of a melody alone avoids standardization. And by force, the track must be interesting with one section and five elements. What few tools are made available must be used to their full ability. The fact that sufficient variety and surprise is found to complete an ultimately interesting project is nothing more than well deserved gloating.
- John Noggle
DJ Dotorado [DDPR] - "Funana (Demo)"
What began as a deluge has transformed into a trickle. A spigot cannot compete with a rapids, but the importance is consistency. The flow of precious liquids must not become stagnant - mosquitos are a terrible thing. This much can also be said: Deejays di Puro Ritmo are concerned with music and not the chemical binding of hydrogen and oxygen. Nonetheless, DDPR stalwart DJ Dotorado is responsible for keeping the water on; having released two demos this week alone.
While Big Vado and EstraGaa are the crew's specialists - focusing on rhythm and melody respectively - Dotorado rests comfortably on the throne of a reknown generalist. All three DDPR members stand on equal footing, but DJ Dotorado stands to benefit most from his current position. As the specialists hone in on technicalities of their craft, Dotorado is free to roam. A virtual liaison with the electronic portion of this dance music variety, Dotorado's canon containts significantly wider breathe of material than that of his colleagues. The end results are neither superior or inferior. Where range is concerned, however, Dotorado can simply reach much further.
"Funana," serves as a formidable study of Dotorado's style. The song begins - its introduction consists of a solitary accordion. Unexpected describes the selection, but it is not entirely out of the ordinary. When a synthesizer carries the burden of a song's melody its appeal is primarily for fanatics of contemporary sounds. An accordion accomplishes the identical task while retaining a sense of traditional identity; the difference is dialectical. At any rate, modern aesthetics can still be achieves. Listeners must not wait long to hear an example because Following the Dj's tag is the familiar cue of a snare roll . The song's first section begins. Dotorado suddenly charges the melodic burden on a violin, provides the accordion a new harmonic role, and the rhythm is supported by a simple snare drum. Another rhythmic fill declares it is time for a new section: the melody remaining the same, save for shorter phrasing, as does the beat. A new cymbal, though, adds subtle variety so as not to stunt the track's growth. A guitar is ultimate brought into this very clean mix - further adding to "Funana" as a testament to Doctorado organizational abilities and overall polish - as the brief number comes to a close. Brevity ultimately assists the song: every second is used productively towards its purpose as a dance tune. Not necessarily a game changing beat, but the results are quite pleasant to enjoy.
- John Noggle
While Big Vado and EstraGaa are the crew's specialists - focusing on rhythm and melody respectively - Dotorado rests comfortably on the throne of a reknown generalist. All three DDPR members stand on equal footing, but DJ Dotorado stands to benefit most from his current position. As the specialists hone in on technicalities of their craft, Dotorado is free to roam. A virtual liaison with the electronic portion of this dance music variety, Dotorado's canon containts significantly wider breathe of material than that of his colleagues. The end results are neither superior or inferior. Where range is concerned, however, Dotorado can simply reach much further.
"Funana," serves as a formidable study of Dotorado's style. The song begins - its introduction consists of a solitary accordion. Unexpected describes the selection, but it is not entirely out of the ordinary. When a synthesizer carries the burden of a song's melody its appeal is primarily for fanatics of contemporary sounds. An accordion accomplishes the identical task while retaining a sense of traditional identity; the difference is dialectical. At any rate, modern aesthetics can still be achieves. Listeners must not wait long to hear an example because Following the Dj's tag is the familiar cue of a snare roll . The song's first section begins. Dotorado suddenly charges the melodic burden on a violin, provides the accordion a new harmonic role, and the rhythm is supported by a simple snare drum. Another rhythmic fill declares it is time for a new section: the melody remaining the same, save for shorter phrasing, as does the beat. A new cymbal, though, adds subtle variety so as not to stunt the track's growth. A guitar is ultimate brought into this very clean mix - further adding to "Funana" as a testament to Doctorado organizational abilities and overall polish - as the brief number comes to a close. Brevity ultimately assists the song: every second is used productively towards its purpose as a dance tune. Not necessarily a game changing beat, but the results are quite pleasant to enjoy.
- John Noggle
Wednesday, July 23, 2014
Nélson Oliveira [TPM] - "Style (Estilo Livre)"
Without a credit on Principe's Tia Maria Produções release, it appears Nélson Oliveira has recently joined DJ Télio, LyCoOx, Dj B.boy, and Puto Márcio in their borderless collective. Rosters are by no means permanent; surprise is minimal. Rock bands and hip-hop management group are no strangers to the phenomenon of fluctuation because creative differences arise in rooms inhabited by charisma and creativity. For this reason the sudden addition should not raise eyebrows; the peculiarity is terribly situational. The reason being: prior to this releaseNélson Oliveira does not appear to have partaken in sharing musical creations. His name is common, but it seems unlikely that the Stade Renais football player or the cyclist without an accented [e] felt inclined to suddenly alter career paths. Where simplicity is concerned, a third possibility exists. This track is a de facto Puto Márcio creation - the man's name being part of the Tia Maria URL - and the proper title is "Style - Nélson Oliveira (2014)."
A voice reaches out. Accompanied by a few meandering notes, the message concludes. Before the introduction fully transitions, the tempo hustles toward full speed. It becomes apparent that a high pitched, two-bar synth phrase will carry the song's melody; meanwhile rhythm is laying claim to the track as a whole. Ten seconds into "Style (Estilo Livre)," the first of two drum patterns begins. Kick and snare are joined by a friction drum. The former forms a kuduro beat while the latter emphasizes syncopation. This, however is no ordinary beat. Any and all expectations lay in shambles as Oliveira presents a novel pattern: rather than simply end the drum break, four more beats are quickly struck. Conversely, the second pattern ends sooner than expected - all of this occurring merely within the first minute. After a brief bridge benefitting listener, DJ, and dancer alike (bearing must be regained), a reminder is broadcast: "Te Eme Produções" is responsible for the chaos. Without sacrificing too much time, the initial beat returns. A vocal sample - a simple yelp - adds a third percussive element while the sole synth shortens its phrasing. As is expected from an album-length composition, the song loops back to the initial portion of the A-B-C structure.
Anything "Style (Estilo Livre)" lacks is more than compensated for in creativity and surprise. It cannot be said that a myriad of samples are put into place, but those present are utilized pleasantly and in tandmen with keeping an elevated energy level. The expectation for a more dynamic melody, though, is reasonable given the amount of time provided. Regardless, the differentiation between sections is sufficient where a dance number - the track's main, and very efficiently accomplished, purpose - is concerned. Most importantly, and in returning to the beginning, credit deserves to be showered upon the rightful head responsible for this song because. It is a truly exceptional track.And for what it may be worth, the picture next to"Style (Estilo Livre)" is the only one presently on the internet.
- John Noggle
A voice reaches out. Accompanied by a few meandering notes, the message concludes. Before the introduction fully transitions, the tempo hustles toward full speed. It becomes apparent that a high pitched, two-bar synth phrase will carry the song's melody; meanwhile rhythm is laying claim to the track as a whole. Ten seconds into "Style (Estilo Livre)," the first of two drum patterns begins. Kick and snare are joined by a friction drum. The former forms a kuduro beat while the latter emphasizes syncopation. This, however is no ordinary beat. Any and all expectations lay in shambles as Oliveira presents a novel pattern: rather than simply end the drum break, four more beats are quickly struck. Conversely, the second pattern ends sooner than expected - all of this occurring merely within the first minute. After a brief bridge benefitting listener, DJ, and dancer alike (bearing must be regained), a reminder is broadcast: "Te Eme Produções" is responsible for the chaos. Without sacrificing too much time, the initial beat returns. A vocal sample - a simple yelp - adds a third percussive element while the sole synth shortens its phrasing. As is expected from an album-length composition, the song loops back to the initial portion of the A-B-C structure.
Anything "Style (Estilo Livre)" lacks is more than compensated for in creativity and surprise. It cannot be said that a myriad of samples are put into place, but those present are utilized pleasantly and in tandmen with keeping an elevated energy level. The expectation for a more dynamic melody, though, is reasonable given the amount of time provided. Regardless, the differentiation between sections is sufficient where a dance number - the track's main, and very efficiently accomplished, purpose - is concerned. Most importantly, and in returning to the beginning, credit deserves to be showered upon the rightful head responsible for this song because. It is a truly exceptional track.And for what it may be worth, the picture next to"Style (Estilo Livre)" is the only one presently on the internet.
- John Noggle
DJ MaboOku [CDM] - "Remo"
By releasing "Remo," Dj MaboOku has ended a three-week long personal drought. The keyword in the preceding sentence is "personal" because Casa de Mãe has steadily released records this summer. In July alone, Finicox, LiloCox, and Edyfox were been associated with freshly released solo and collaborative sounds. Yet no semblance of a schedule is inferred. CDM has a tendency for releasing songs in clusters, but their source is entirely random. A single artist showcase is just as likely as a compilation of the entire crew.
Regardless, the sudden presence of a new MaboOku song is cause for a celebration; hearing his voice shout "DJ MaboookU!" at the end the four-second introduction to "Remo" the impetus. Immediately, however, the track stands in contrast to the producer's previous work. Recent releases have featured more adventurous melodic exploration than anticipated from CDM's rhythmic wonder, but MaboOku continually prefers typical sounds. The theme of this new song, however, is progress more so than continuity.
Rather than a melodica, accordion, or xylophone, "Remo" makes frugal use of a synthesizer. Among single note bursts, the melody very briefly rises and drops over a beat that churns forward with the determination of a locomotive. Deceivingly routine, the rhythm remains MaboOku's main attraction. Bearing the producer's signature for multiple percussive elements, "Remo" does not skimp imagination. As on "Ula Ula" the drumkits accepts a secondary role along side a faint tambourine. Woodblocks bear the brunt of rhythmic responsibility, all the while assisting with the track's melody. What is less than ordinary is the slower pace - alongside the significantly come concise length - heard on "Remo". The bass is heavy but "Remo" is not kuduro; the sound is more akin to a tarraxo unconstrained by formality. This beat feels free, its only alteration occurring just past the 35 second mark. Even more space is cleared by the cymbals. Given the track's terse nature, it begins to conclude soon after this second portion in established with an unanticipated show of humor. At 58 seconds the sounds begins to cut in and out, leaving listeners with a false impression. Has the internet connection has failed? Alas, MaboOku plays on his audience's expectations. Polish is taken for granted as the producer's make-shift "Shave and a Haircut," is capped off with the appropriate two-bits. In the end "Remo" may serve as nothing more than a sketch, yet a message is clearly expressed: new styles are yet to be uncovered.
- John Noggle
Regardless, the sudden presence of a new MaboOku song is cause for a celebration; hearing his voice shout "DJ MaboookU!" at the end the four-second introduction to "Remo" the impetus. Immediately, however, the track stands in contrast to the producer's previous work. Recent releases have featured more adventurous melodic exploration than anticipated from CDM's rhythmic wonder, but MaboOku continually prefers typical sounds. The theme of this new song, however, is progress more so than continuity.
Rather than a melodica, accordion, or xylophone, "Remo" makes frugal use of a synthesizer. Among single note bursts, the melody very briefly rises and drops over a beat that churns forward with the determination of a locomotive. Deceivingly routine, the rhythm remains MaboOku's main attraction. Bearing the producer's signature for multiple percussive elements, "Remo" does not skimp imagination. As on "Ula Ula" the drumkits accepts a secondary role along side a faint tambourine. Woodblocks bear the brunt of rhythmic responsibility, all the while assisting with the track's melody. What is less than ordinary is the slower pace - alongside the significantly come concise length - heard on "Remo". The bass is heavy but "Remo" is not kuduro; the sound is more akin to a tarraxo unconstrained by formality. This beat feels free, its only alteration occurring just past the 35 second mark. Even more space is cleared by the cymbals. Given the track's terse nature, it begins to conclude soon after this second portion in established with an unanticipated show of humor. At 58 seconds the sounds begins to cut in and out, leaving listeners with a false impression. Has the internet connection has failed? Alas, MaboOku plays on his audience's expectations. Polish is taken for granted as the producer's make-shift "Shave and a Haircut," is capped off with the appropriate two-bits. In the end "Remo" may serve as nothing more than a sketch, yet a message is clearly expressed: new styles are yet to be uncovered.
- John Noggle
Tuesday, July 22, 2014
LyCOox [TMP] & DeeJay EstraGaa [DDPR] - "Para O Quimbé (GDX ) 2014"
Within every cascade are easy to miss details. A rainbow ariseth from the base of that non-descript natural wonder, sure. But this gentleman is armed only with a wooden barrel and a waterfall and has chosen to partake in a one-man probability exercise. Beyond the spectre of doubt one event is more dramatic than the other. And despite that within both is an anecdote with years of potential longevity, biology provides man with only so much RAM. Attention span rations: an inconvenient truth.
Much like the moving water above, the output from Deejays di Puro Ritmo [DDPR] and Tia Maria Produções [TMP] over the past two weeks has been floodlike. To determine whether this resembles Iguazu or Niagara, though, requires wisdom beyond the Noggle variety. What I will say is that the currents have varied. LyCoOx did as LyCOox does; the name appearing on a number of tracks regardless of affiliation and genre. On DDPR's front, Dotorado is credited with a remix, Big Vado can be mentioned alongside Black$ea Nao Maya, and all the while EstraGaa remains steady on his grind.
The wayside synth and single cymbal's rattle do not signify anything extraordinary. With the introduction of a bass element, "Para o Quimbe" still does not merit attention beyond these two producer's prior works. The mid-tempo kuduro rhythm is well executed - the use of a synth for harmony and melody also worthy of being mentioned - but mind the patience. Serenity from both LyCOox and EstraGaa provides this track with polish beyond its mastering. Neither producer is compelled to rush a revelation the song's features; so much so that the rhythm section is eliminated during a bridge placed immediately after the head. A spoken word interlude is repeated and slowly faded. Suspense is built and the second section begins. The drums remain largely the same, allowing the altered 2/4 bassline to receive a fair share of attention. Nearly a minute passes. A short, third synthesizer is melodically important, but only until a second bridge begins, Suddenly, the signature EstraGaa flute becomes the track's centerpiece - carrying so much weight that even the drums briefly buckle. It is at this point that the album-length composition loops its second portion, reinforcing the total number of elements used. As is typical for EstraGaa, the song - featuring an intriguing Intro-A-Bridge-B-Bridge-B structure - ends by literally fading out. Despite the use of only one beat, the rhythm serves its purpose as a dance track; the melody is, at any rate, key. This is a song with equal parts style and ambition worthy of playing twice.
- John Noggle
Much like the moving water above, the output from Deejays di Puro Ritmo [DDPR] and Tia Maria Produções [TMP] over the past two weeks has been floodlike. To determine whether this resembles Iguazu or Niagara, though, requires wisdom beyond the Noggle variety. What I will say is that the currents have varied. LyCoOx did as LyCOox does; the name appearing on a number of tracks regardless of affiliation and genre. On DDPR's front, Dotorado is credited with a remix, Big Vado can be mentioned alongside Black$ea Nao Maya, and all the while EstraGaa remains steady on his grind.
The wayside synth and single cymbal's rattle do not signify anything extraordinary. With the introduction of a bass element, "Para o Quimbe" still does not merit attention beyond these two producer's prior works. The mid-tempo kuduro rhythm is well executed - the use of a synth for harmony and melody also worthy of being mentioned - but mind the patience. Serenity from both LyCOox and EstraGaa provides this track with polish beyond its mastering. Neither producer is compelled to rush a revelation the song's features; so much so that the rhythm section is eliminated during a bridge placed immediately after the head. A spoken word interlude is repeated and slowly faded. Suspense is built and the second section begins. The drums remain largely the same, allowing the altered 2/4 bassline to receive a fair share of attention. Nearly a minute passes. A short, third synthesizer is melodically important, but only until a second bridge begins, Suddenly, the signature EstraGaa flute becomes the track's centerpiece - carrying so much weight that even the drums briefly buckle. It is at this point that the album-length composition loops its second portion, reinforcing the total number of elements used. As is typical for EstraGaa, the song - featuring an intriguing Intro-A-Bridge-B-Bridge-B structure - ends by literally fading out. Despite the use of only one beat, the rhythm serves its purpose as a dance track; the melody is, at any rate, key. This is a song with equal parts style and ambition worthy of playing twice.
- John Noggle
Dj LauranCoOX [RDP] - "Adeus Milagre 2"
For what it matters, RDP is one of the most, if not the most, interesting crew names in all the land. An acronym for the phrase Rabo da Prima - translating literally as, "Cousin's tail" - its source and meaning are supremely intriguing. Neither, however, proves detrimental to enjoyment of RDP's music. English, after all, lays claim to its fair share of quixotic idioms. From the oddly personifying "hair of the dog" to the absurdly misleading "easy as pie," American English does hesitate to jump on the bandwagon of any phrase which resembles a forlorn, meaningful expression. Investigative malaise perhaps, but the risk associated with this particular detective work is two-fold. One fold results in selfishly commandeering bandwidth for a senseless explanation. The other invoves the mere potential internet shaming of someone's cousin and their tail. Neither option, frankly, is all that appealing.
At any rate, Deejay LauranCoOx (alternatively styled Dj Lauran - CoOx), is the cranial force behind RDP. An independent for all intents and purposes, LauranCoOx resides, like DJ Dotorado among others, in the Margem Sul section of Lisbon. This is a producer, much WeLiiFOx, specializes in beats more so than album-length compositions. What LauranCoOx tracks may lack in duration, though, he compensates for in energy. For both geographically and aesthetic reasons Tucho da Mae (TDM) proves to be his nearest comparison. In addition to collaborations with DJ Jeff and the aforementioned WeLiiFOx, RDP shows a preference for electro-house flavors upon kuduro beats. Since it appears that LauranCOox is still in a formative stage, though, he does show a willingness to work beyond the standard, or flash unique signs of flare.
"Adeus Milagre 2" is more much more standard than atypical. With a 4/4 kick drum, the song begins its five-second introduction. As with the majority LauranCOoc tracks, time is not in excess. The brief time allotted does provide the listener a moment of acclimation.What sounds like a guiro will provide the second percussive element. Interestingly, the following is surprising nonetheless. As the fast-tempoed kuduro beat starts, the song's signature appears. A very loud, very predictable, single synth note in oft repeated. A sound which is polarizing at best is nonetheless efficient. If the desired emotion is a sudden, careless rush the song efficiently produces it. Adrenaline now rushing, LauranCOox provides some respite with a meager bridge. Bridge is a loosely used term, though, as a drum fill and faint vocal sample usher in a cascade of voices. Formless spoken word, the impression might be given of a vibrant, populated room; the result, however, is amateurish tag placement. A well mastered, simple and unapologetic track electro kuduro number.
- John Noggle
At any rate, Deejay LauranCoOx (alternatively styled Dj Lauran - CoOx), is the cranial force behind RDP. An independent for all intents and purposes, LauranCoOx resides, like DJ Dotorado among others, in the Margem Sul section of Lisbon. This is a producer, much WeLiiFOx, specializes in beats more so than album-length compositions. What LauranCoOx tracks may lack in duration, though, he compensates for in energy. For both geographically and aesthetic reasons Tucho da Mae (TDM) proves to be his nearest comparison. In addition to collaborations with DJ Jeff and the aforementioned WeLiiFOx, RDP shows a preference for electro-house flavors upon kuduro beats. Since it appears that LauranCOox is still in a formative stage, though, he does show a willingness to work beyond the standard, or flash unique signs of flare.
"Adeus Milagre 2" is more much more standard than atypical. With a 4/4 kick drum, the song begins its five-second introduction. As with the majority LauranCOoc tracks, time is not in excess. The brief time allotted does provide the listener a moment of acclimation.What sounds like a guiro will provide the second percussive element. Interestingly, the following is surprising nonetheless. As the fast-tempoed kuduro beat starts, the song's signature appears. A very loud, very predictable, single synth note in oft repeated. A sound which is polarizing at best is nonetheless efficient. If the desired emotion is a sudden, careless rush the song efficiently produces it. Adrenaline now rushing, LauranCOox provides some respite with a meager bridge. Bridge is a loosely used term, though, as a drum fill and faint vocal sample usher in a cascade of voices. Formless spoken word, the impression might be given of a vibrant, populated room; the result, however, is amateurish tag placement. A well mastered, simple and unapologetic track electro kuduro number.
- John Noggle
Friday, July 18, 2014
DJ Finicox [CDM] - "Assalto"
Like a Pennsylvania groundhog in February, or Bill Murray at a stranger's private reception, DJ Finicox peered out at the world today. Following a brief residency in the shadows - to dramatize a mild, month-long drought in releases - this Casa de Mãe/Geomagic affiliated producer has released a gem via the CDM Soundcloud. An upper tier beat-maker in his own right, the allure of Finicox extends beyond name recognition. A Finicox beat exudes confidence. No gimmicky hooks or playful experimentation is found within his portfolio. It is all a careful calculus. Sights are set on an as of yet undiscovered appeal is. The sounds are fresh because they have contemporaries but not comparisons.
Finicox works with dance beats; this cannot be disputed. An inclination towards Angolan rhythms, as well as geographic realities, allow him to be categorized among the electronic music artists of Lisbon. This, however, is where the standardization ends. What is of the utmost importance to Finicox is the future. The reason for this being that the DJ does not appear concerned with solidifying his genre's legacy - or solely paying homage to the past. At the very core of these productions Finicox strives for progression; as if to say "Ok, we know this can be done. Now what more can be accomplished?"
It is for this precise reason that Fincox's new song stands out. Not unlike a gavel in a courtroom, "Assalto" begins with a single bass note. Order is called among both song and dance floor. Despite the album-length nature of the track, Finicox does not exert himself with an introduction. In a mere six seconds the song's main melodic element is revealed, and nothing more. A cymbal and miscellaneous percussion make a brief cameo but it is not until the first portion begins that their role is known. Serving as trademarks, both the drumkit and a distant percussive element remain. Yet aside from the simultaneous rhythmic tools, the beat sounds atypical. The 4/4 signature appears related to kuduro, but tempo is neither faster nor slower than average. Space, not usurped by bass, is provided. With the chromatic flute in full swing, above a subtle ambient element, Finicox's intention are evident. Admiration is due to afrodizha for incorporating a deep-house credo into its African roots. After the ritualistic call of "poooorrrrrrrra," just shy of the minute mark, is the song's second section. The flute has vanished. Two different percussive sounds remain, but the beat now more closely resembles zouk. Interestingly, while woodblocks have been incorporated a net element at been lost. Leaving the synth be, these blocks fill a dual rhythmic and harmonic capacity before the song loops to create a neat sense of symmetry. In the end, an sizable amount of sounds are utilized to shape "Assalto," but the listener hardly notices. First exposure breeds the wrong attitude that the number is boring; that perhaps vocal accompaniment may be a quick fix. It is in its humble nature, however, that the song thrives. This is a very fine production.
- John Noggle
Finicox works with dance beats; this cannot be disputed. An inclination towards Angolan rhythms, as well as geographic realities, allow him to be categorized among the electronic music artists of Lisbon. This, however, is where the standardization ends. What is of the utmost importance to Finicox is the future. The reason for this being that the DJ does not appear concerned with solidifying his genre's legacy - or solely paying homage to the past. At the very core of these productions Finicox strives for progression; as if to say "Ok, we know this can be done. Now what more can be accomplished?"
It is for this precise reason that Fincox's new song stands out. Not unlike a gavel in a courtroom, "Assalto" begins with a single bass note. Order is called among both song and dance floor. Despite the album-length nature of the track, Finicox does not exert himself with an introduction. In a mere six seconds the song's main melodic element is revealed, and nothing more. A cymbal and miscellaneous percussion make a brief cameo but it is not until the first portion begins that their role is known. Serving as trademarks, both the drumkit and a distant percussive element remain. Yet aside from the simultaneous rhythmic tools, the beat sounds atypical. The 4/4 signature appears related to kuduro, but tempo is neither faster nor slower than average. Space, not usurped by bass, is provided. With the chromatic flute in full swing, above a subtle ambient element, Finicox's intention are evident. Admiration is due to afrodizha for incorporating a deep-house credo into its African roots. After the ritualistic call of "poooorrrrrrrra," just shy of the minute mark, is the song's second section. The flute has vanished. Two different percussive sounds remain, but the beat now more closely resembles zouk. Interestingly, while woodblocks have been incorporated a net element at been lost. Leaving the synth be, these blocks fill a dual rhythmic and harmonic capacity before the song loops to create a neat sense of symmetry. In the end, an sizable amount of sounds are utilized to shape "Assalto," but the listener hardly notices. First exposure breeds the wrong attitude that the number is boring; that perhaps vocal accompaniment may be a quick fix. It is in its humble nature, however, that the song thrives. This is a very fine production.
- John Noggle
Thursday, July 17, 2014
LyCOox [TMP] & Deejay Wk [GrooveBeatz] - "Tarraxo Malandrinho 2014"
A peacock's image is to NBC what Rainer the Social Butterfly will be to the Noggle Television Network. Nothing more than a dreamscape? Absolutely. The evolution from senseless writing collection to media conglomerate of Noggledom is improbable (if not impossible). What is important about my fantasy, though, is not the station bearing my namesake. Rest your focus squarely upon Rainer; spokes-insect and logo. Looking into the winged soul of his caterpillar past, Rainer is compelled to decide, in the dead of night, must he socialize? With the today's dearth of quality children's programming, Rainer teaches the youth lessons as flamboyantly colorful as his wings on the matters of solitude, individuality, and poetry. If nothing else, this butterfly and his sidekick Henry the Hippo - resident of a pond named Walden - are likely to move a respectable about of units, where Asian manufactured action figures are concerned.
Deejay Wk possesses a similarity to both Rainer the butterfly and Rilke the writer. An independent among a sea of cliques, crews, and collectives, Wk operates under his own volition. Like his counterparts, Deejay Wk - real name Edmilson Sousa - is strictly a beat-maker who calls Lisbon home. Much to the contrast of these contemporaries, though, Wk answers only to his conscious. A single mind does not have the intellectual resources of a group but Wk does not look to carve out a collaborative aesthetic. Mr. Sousa wishes only to express himself. HIsvehicle of choice for this task generally kizomba: zouk beats with a pop polish. As his beat-tape shows, these sounds tend to rest on the verge of MIDI creations. But like techno-brega sound appealing nonetheless. This is not to say Wk is fixated on a single genre or that he shuns collaborations; very much to the contrary. On the occasion that Sousa works with others, it usually involves varying styles and, unsurprisingly, the omnipresent LyCOox.
"Tarraxo Maladrinho" is one such track. Vaguely translating to "Trouble-maker tarraxo," the song begins with an appropriately ominous tone. Modulated vocals over wooden blocks provide a dark harmonic ambiance. The surroundings are recognizable, but the lights, for whatever reason, have failed to turn on. Listeners must rely on the rhythm to lead. Essentially each portion of "Tarraxo Maladrinho" relies on its own rhythm, the first of which is a is a slow 2/4. Once bearings have been gained, the second begins its 4/4 nature. Much like the tempo, the six-part vocal phrase remaining unchanged until the one-minute mark when a drum fill introduces this album feature's third section. In the interest of space, all elements compromise on remaining present by becoming shorter. A guitar, along with a high pitched synth, joins the production. The vocals' pitch is altered to create a sense of suspense. The audience is left to find their way on a path that hardly where the track began. What follows the short bridge portion is a culmination sections past. Two guitar notes are now combined with a single vocal note, avoiding any criticism of redundancy. No element is used as a gaudy accessory because the song is appropriately grandiose. This is a strong production and a formidable example of a tarraxinha number.
- John Noggle
Deejay Wk possesses a similarity to both Rainer the butterfly and Rilke the writer. An independent among a sea of cliques, crews, and collectives, Wk operates under his own volition. Like his counterparts, Deejay Wk - real name Edmilson Sousa - is strictly a beat-maker who calls Lisbon home. Much to the contrast of these contemporaries, though, Wk answers only to his conscious. A single mind does not have the intellectual resources of a group but Wk does not look to carve out a collaborative aesthetic. Mr. Sousa wishes only to express himself. HIsvehicle of choice for this task generally kizomba: zouk beats with a pop polish. As his beat-tape shows, these sounds tend to rest on the verge of MIDI creations. But like techno-brega sound appealing nonetheless. This is not to say Wk is fixated on a single genre or that he shuns collaborations; very much to the contrary. On the occasion that Sousa works with others, it usually involves varying styles and, unsurprisingly, the omnipresent LyCOox.
"Tarraxo Maladrinho" is one such track. Vaguely translating to "Trouble-maker tarraxo," the song begins with an appropriately ominous tone. Modulated vocals over wooden blocks provide a dark harmonic ambiance. The surroundings are recognizable, but the lights, for whatever reason, have failed to turn on. Listeners must rely on the rhythm to lead. Essentially each portion of "Tarraxo Maladrinho" relies on its own rhythm, the first of which is a is a slow 2/4. Once bearings have been gained, the second begins its 4/4 nature. Much like the tempo, the six-part vocal phrase remaining unchanged until the one-minute mark when a drum fill introduces this album feature's third section. In the interest of space, all elements compromise on remaining present by becoming shorter. A guitar, along with a high pitched synth, joins the production. The vocals' pitch is altered to create a sense of suspense. The audience is left to find their way on a path that hardly where the track began. What follows the short bridge portion is a culmination sections past. Two guitar notes are now combined with a single vocal note, avoiding any criticism of redundancy. No element is used as a gaudy accessory because the song is appropriately grandiose. This is a strong production and a formidable example of a tarraxinha number.
- John Noggle
Dadifox [PDDG] & Deejaý WeLiiFOx [TDM] - "Vocal Indiano"
Politics differ across continents. Despite encountering similar problems, specific circumstances breed varying approaches. A seed of consistency, however, can be found in conservative politics. Any card holding member of the political spectrum's right-side can agree: the traditional family structures are at risk. One man's same-sex marriage is another woman's career aspiration. Devastating taboos, with the passage of time, open up a wealth of human possibility. Meanwhile, a deadbolt is placed on the door leading towards happy family life. Unless, of course, the portrait of familial happiness has simply taken on a different shape; because if Urbandictionary has its way 'family' is to be nothing more than a state of mind, and two syllables shorter.
WeLiiFOx and Dadifox appear to be one such 'fam.' Affiliated with the tastemakers of Piquenos DJs do Ghetto (PDDG), as well as Demon Beatzz, Dadifox is part experimenter and part aficionado. The two halves of that make whole of this producer result in a pleasant equilibrium. Because the man is so comfortable designing high energy kuduro with typical melodic elements, he tends to venture into genre fusion; sometimes with rock, and sometimes with hip-hop. The typical subsidizes the atypical. Tucho da Mãe (TDM) Deejaý WeLiiFOx exhibits similar purpose with a dissimilar approach. Calling the Margem Sul region of Lisbon home base, WeLiiFOx along with Raphael Vaaz and DJ Jeff, know kuduro too and seek a wider audience; they just choose to do so through mainstream flavors and crossover. Predictably, WeLiiFOx has an eccentricity too: a penchant for short chromatic synth phrases. It is here, in the slightly askew, that these two Lisbon beatmakers find common ground.
"Vocal Indiano" continues where previous collaborations have left off. The designs begin practically: a routine, fast tempoed, kuduro beat is used as foundation. Once the tenants, and their limbs' movement, are secured the song's melody creates a facade all its own. This new track, though, is unique in its own right. Above-average mastering - as far as a WeLiiFOx track is concerned - is the first abundantly clear quality. A brass section within the disproportionately long introduction is the second. While "Vocal Indiano" is likely a demo for a longer composition, the thought process behind creation intriguings. In betwixt the clipping of an uninqpiring 4/4 house bass a vocal sample neatly placed at the end of the rhythm. A plethora of elements are not exhibited, but those that are have been carefully chosen. By opting for a brass section (playing a typical WeLiiFOx melody all the while) the productiojn takes on a larger feel than it otherwise would; and that without overwhelming listeners. More than anything, potential holds this song, and tandem, together.
- John Noggle
WeLiiFOx and Dadifox appear to be one such 'fam.' Affiliated with the tastemakers of Piquenos DJs do Ghetto (PDDG), as well as Demon Beatzz, Dadifox is part experimenter and part aficionado. The two halves of that make whole of this producer result in a pleasant equilibrium. Because the man is so comfortable designing high energy kuduro with typical melodic elements, he tends to venture into genre fusion; sometimes with rock, and sometimes with hip-hop. The typical subsidizes the atypical. Tucho da Mãe (TDM) Deejaý WeLiiFOx exhibits similar purpose with a dissimilar approach. Calling the Margem Sul region of Lisbon home base, WeLiiFOx along with Raphael Vaaz and DJ Jeff, know kuduro too and seek a wider audience; they just choose to do so through mainstream flavors and crossover. Predictably, WeLiiFOx has an eccentricity too: a penchant for short chromatic synth phrases. It is here, in the slightly askew, that these two Lisbon beatmakers find common ground.
"Vocal Indiano" continues where previous collaborations have left off. The designs begin practically: a routine, fast tempoed, kuduro beat is used as foundation. Once the tenants, and their limbs' movement, are secured the song's melody creates a facade all its own. This new track, though, is unique in its own right. Above-average mastering - as far as a WeLiiFOx track is concerned - is the first abundantly clear quality. A brass section within the disproportionately long introduction is the second. While "Vocal Indiano" is likely a demo for a longer composition, the thought process behind creation intriguings. In betwixt the clipping of an uninqpiring 4/4 house bass a vocal sample neatly placed at the end of the rhythm. A plethora of elements are not exhibited, but those that are have been carefully chosen. By opting for a brass section (playing a typical WeLiiFOx melody all the while) the productiojn takes on a larger feel than it otherwise would; and that without overwhelming listeners. More than anything, potential holds this song, and tandem, together.
- John Noggle
Wednesday, July 16, 2014
Black $murf - "Mind Over Matter [Prod. RichBeatz]"
What follows does not concern an obscure, and vaguely offensive, anime character. If I were to nominate any internet rapper for a walk-on role on a Japanese animated series, though, it would more than likely be Black $murf. Decked out with an eye patch and a du-rag, $murf roams the countryside with unnerving calmness in this fantasy. Trusty katana and parrot at his side, this anti-hero causes mischief between tokes of his recently rolled blunt. No directive determines the outcome of his actions - no purpose promises an eventual change of heart. And much like the man with no name, every bit of chaos reflects the situation at hand. A dialectical non-villain who, nonetheless, strikes fear into the hearts of those around him while lavishly providing for himself. Riches are of the utmost necessity for a 'Hustle God;' contradictions be damned.
Lyricism, however, is decidedly a shortcoming for Black $murf. The Memphis based spitter is certainly a serviceable rapper - better than myself, certainly - but listeners must rarely reach for tomes of reference to grasp hidden meanings. Exhibiting a variant of classic the classic Tennessee flow, as popularized by Juicy J, $murf does have a tendency for flashes that can only be described as fantastic. What appears as inconsistency to some may very well be surprising to others. Ultimately the beat of choice - by and large trap inspired sounds - seems to be the variable that determines $murf's performance; often releasing single EPs with a single producer. Frozen Gang Beatz, for one, is a formidable conspirator. Heavy beats and snare rolls are abound on these tracks, but the sounds crafted by Frozen Gang Beatz make few demands. Free of the grandiose shackles of symphonic arrangements, a casual ambiance provides an unassuming melodic line and space for MCs to do as they wish. A Taliesin to the governor's mansion, if you will: power and fortune stem from the latter, but only one is in tune with its surroundings.
"Mind Over Matter" is one such track. For the first leak off his upcoming sequel, Hustle God 2 EP, Black $murf enlists Rich Beatz for his cause. Using the "Tokihanatsu" beat released just two days prior, JediiForce is is in full effect. The immediate differences are very much positive. Although the Bruce Lee sample threatens to operate under both the guise of relatability and overuse, it nonetheless used effectively. No sooner does the Jeet Kune Do innovator say "Open your mind," than $murf begins vocalizing ad-libs that serve more as harmony to the koto/shamisen melody than random asides. The voice is sedate on the surface but the intention is hype, which the MC succeeds in accomplishing. Where content is concerned, the song continues to build thuis character's legacy; comparable to that of Bobby Digital. As soon as the line, "I was trying to be the best so I can't be defeated," it becomes evident that the Black $murf on "Mind Over Matter" is $murf's better half; although Bruce Lee himself might say that their is no difference between the two.
- John Noggle
Lyricism, however, is decidedly a shortcoming for Black $murf. The Memphis based spitter is certainly a serviceable rapper - better than myself, certainly - but listeners must rarely reach for tomes of reference to grasp hidden meanings. Exhibiting a variant of classic the classic Tennessee flow, as popularized by Juicy J, $murf does have a tendency for flashes that can only be described as fantastic. What appears as inconsistency to some may very well be surprising to others. Ultimately the beat of choice - by and large trap inspired sounds - seems to be the variable that determines $murf's performance; often releasing single EPs with a single producer. Frozen Gang Beatz, for one, is a formidable conspirator. Heavy beats and snare rolls are abound on these tracks, but the sounds crafted by Frozen Gang Beatz make few demands. Free of the grandiose shackles of symphonic arrangements, a casual ambiance provides an unassuming melodic line and space for MCs to do as they wish. A Taliesin to the governor's mansion, if you will: power and fortune stem from the latter, but only one is in tune with its surroundings.
"Mind Over Matter" is one such track. For the first leak off his upcoming sequel, Hustle God 2 EP, Black $murf enlists Rich Beatz for his cause. Using the "Tokihanatsu" beat released just two days prior, JediiForce is is in full effect. The immediate differences are very much positive. Although the Bruce Lee sample threatens to operate under both the guise of relatability and overuse, it nonetheless used effectively. No sooner does the Jeet Kune Do innovator say "Open your mind," than $murf begins vocalizing ad-libs that serve more as harmony to the koto/shamisen melody than random asides. The voice is sedate on the surface but the intention is hype, which the MC succeeds in accomplishing. Where content is concerned, the song continues to build thuis character's legacy; comparable to that of Bobby Digital. As soon as the line, "I was trying to be the best so I can't be defeated," it becomes evident that the Black $murf on "Mind Over Matter" is $murf's better half; although Bruce Lee himself might say that their is no difference between the two.
- John Noggle
Monday, July 14, 2014
Big Vado [DDPR] & Black$ea Não Maya - "Sem Melo (Brevemente)"
Non-sequiturs have all the stigma of a box of crayons resting on a pillow of moon dust. Negativity that, mind you, is foreign to the Noggle family. Acceptable levels of random are not inherently bad. For one, Non-Sequitur is the name of an underappreciated comic strip. Turner Broadcasting's animated wing has created a late night empire on the mantra of what is comedically unpredictable and questionably acceptable. But any mention of playing my favorite game - inspiringly called "Non-sequitur off" - is a different matter entirely. The dull, creatively challenged, and otherwise mundane members of any social circle will be quick to point out the unnecessary difficulty, and general pointlessness, of levying progressively irrelevant statements. Needless to say, participants are hard to come by. It seems that people are predisposed to preferring games with "rules," "goals," and "end-results" more so than the process of ad-libbing silliness. Also electric chicken gizzards.
Black$ea Não Maya (B.N.M.) is a baffling name in and of itself. When combined with Dj's di Puro Ritmo (DDPR) member Big Vado, any remaining sensibility is discarded. Independent of reason, though, the match is promising on paper. Whereas EstraGaa has claim to the crew's tarraxo/melodic front, just as much as Dotorado embodies kuduro/rhythmic sensibilities, Big Vado is a wildcard. The choice of identity is the produtor's rather than necessity's. Perhaps it is for this reason that Big Vado is an unashamed generalist. But while the miscellaneous DDPR beatmaker shows occasional preferences for the intangible elements of flare and energy, BNM is very much the opposite. At this point an amorphous collective composed of DJ Perigoso, DJ Noronha, and DJ Kolt, B.N.M. is the epitome a purist entity; subtle, consistent, and worthy of a cult following. To listen to a B.N.M. track is to become enamored with subtle percussive tendencies, or the song within the song. Like MaboOku and Firmeza, B.N.M. songs begins with the rhythm. The rest grows organically.
Despite prior warning against clips, demos, and miscellaneous teases, "Sem Melo" proves to be another exception. The track does waste its audience's time. Where introductions are concerned, a series of single drum beats and one turn-table effect mark the full two-seconds of exchanged pleasantries. A fast 4/4 kuduro rhythm, superimposed on free percussion and a one-syllable, syncopated vocal sample, forms the head. In no way is comfort intended. A loud noise cue serves as a segue to the first segment proper. Percussion is added without concern for space, along with a doting two-bar synth, just before a different sample drives dancers home. Not identical to the first loop, however, the child-like inflection of the initial vocal sample is replaced by an adult. Ambient harmonic effect is added as well, amazingly maintaining order and avoiding cluttered chaos. As the A-B-A-C structure concludes, the final segment is a culmination of each element used so far with variations as deemed necessary. Any negatives found in this song are outweighed by its positive. Not only is the result a very strong, and well mixed, production but the ceiling is undoubtedly raised for both parties.
- John Noggle
Black$ea Não Maya (B.N.M.) is a baffling name in and of itself. When combined with Dj's di Puro Ritmo (DDPR) member Big Vado, any remaining sensibility is discarded. Independent of reason, though, the match is promising on paper. Whereas EstraGaa has claim to the crew's tarraxo/melodic front, just as much as Dotorado embodies kuduro/rhythmic sensibilities, Big Vado is a wildcard. The choice of identity is the produtor's rather than necessity's. Perhaps it is for this reason that Big Vado is an unashamed generalist. But while the miscellaneous DDPR beatmaker shows occasional preferences for the intangible elements of flare and energy, BNM is very much the opposite. At this point an amorphous collective composed of DJ Perigoso, DJ Noronha, and DJ Kolt, B.N.M. is the epitome a purist entity; subtle, consistent, and worthy of a cult following. To listen to a B.N.M. track is to become enamored with subtle percussive tendencies, or the song within the song. Like MaboOku and Firmeza, B.N.M. songs begins with the rhythm. The rest grows organically.
Despite prior warning against clips, demos, and miscellaneous teases, "Sem Melo" proves to be another exception. The track does waste its audience's time. Where introductions are concerned, a series of single drum beats and one turn-table effect mark the full two-seconds of exchanged pleasantries. A fast 4/4 kuduro rhythm, superimposed on free percussion and a one-syllable, syncopated vocal sample, forms the head. In no way is comfort intended. A loud noise cue serves as a segue to the first segment proper. Percussion is added without concern for space, along with a doting two-bar synth, just before a different sample drives dancers home. Not identical to the first loop, however, the child-like inflection of the initial vocal sample is replaced by an adult. Ambient harmonic effect is added as well, amazingly maintaining order and avoiding cluttered chaos. As the A-B-A-C structure concludes, the final segment is a culmination of each element used so far with variations as deemed necessary. Any negatives found in this song are outweighed by its positive. Not only is the result a very strong, and well mixed, production but the ceiling is undoubtedly raised for both parties.
- John Noggle
LyCOox [TMP] & Dj EDyFoOx [CDM] - "Dupla Unika"
The results a search engine query can yield are astonishing. Heisenberg - as history and science insist - is more than a fictional characted. First name Werner, middle name Karl, this other Heisenberg at no moment established residency in the American Southwest, much less the state of New Mexico. Nearly three decades after his death the gall still protrude's the screen. What the man lacked in futuristic foresight, however, was evidently compensated for in academic accomplishments. A vastly popular television drama with hardware to prove its worth notwithstanding, Heisenberg did contribute towards improving his field of choice: science. His coup de grace, though, is posthumous. Like his pulp counterpart, the man credited with preventing Adolf Hitler's possession of an atom bomb never one to shyed away from providing a serviceable anecdote. Heisenberg's epitaph reads: He lies somewhere here.
France's Deejay LyCOox is no scientist. Regardless of this minor detail, this is a beat-maker who actively seeks to support physics with his oeuvre. Like matter, it appears LyCOox can exist at any given point, at any given time; he is everywhere, he is nowgehre. Boundaries are of no object to this member of TMP (Tia Maria Produções). More so than any other member of this Luso-eletronic dance music scene, this producer is continually collaborating with his colleagues. Discrimination does not appear to be in LyCOox's nature. Having published tracks with members of CDM, PDDG, and DDPR geography is no limitation. Each track graced with the LyCOox touch, regardless of genre, does bear his trademark - and that trademark is bass.
Featuring the Casa de Mãe beat-maker EdyFoOx, it is no surprise that "Dupla Unika" has an underlying kuduro beat as well as equal parts rhythm and melody. Yet the introduction of insignificant length does not signify this. The song begins with an indefinable, high-pitched synth. While a enough formless drum effects are utilized to give listeners the impression a batida will follow - the benefits of conferring minds - such is not the case. True intentions are merely cloaked with the element of surprised. As the vocal sample shouts porra (or shiiiiit) and the drum fill is played, the tempo becomes fast and the synth extends to two-bars. Once the track's form is established the DJs slightly alter the beat. Stop-time is used so as to keep the dance floor attent. Just as the masses attention is grabbed, the rhythm incorporates a five note descending bass line that does not wish to be confined to mere rhythmic status. The song has one final surprise. Although the number's length is a meager 1:09 its structure is an odd A-B-C-A; it returns from whence it begat. A serviceable - and decidedly above average - song, it exhibits the promise of the upper tier of Portuguese producers, though simultaneously routine enough to sound safe.
- John Noggle
France's Deejay LyCOox is no scientist. Regardless of this minor detail, this is a beat-maker who actively seeks to support physics with his oeuvre. Like matter, it appears LyCOox can exist at any given point, at any given time; he is everywhere, he is nowgehre. Boundaries are of no object to this member of TMP (Tia Maria Produções). More so than any other member of this Luso-eletronic dance music scene, this producer is continually collaborating with his colleagues. Discrimination does not appear to be in LyCOox's nature. Having published tracks with members of CDM, PDDG, and DDPR geography is no limitation. Each track graced with the LyCOox touch, regardless of genre, does bear his trademark - and that trademark is bass.
Featuring the Casa de Mãe beat-maker EdyFoOx, it is no surprise that "Dupla Unika" has an underlying kuduro beat as well as equal parts rhythm and melody. Yet the introduction of insignificant length does not signify this. The song begins with an indefinable, high-pitched synth. While a enough formless drum effects are utilized to give listeners the impression a batida will follow - the benefits of conferring minds - such is not the case. True intentions are merely cloaked with the element of surprised. As the vocal sample shouts porra (or shiiiiit) and the drum fill is played, the tempo becomes fast and the synth extends to two-bars. Once the track's form is established the DJs slightly alter the beat. Stop-time is used so as to keep the dance floor attent. Just as the masses attention is grabbed, the rhythm incorporates a five note descending bass line that does not wish to be confined to mere rhythmic status. The song has one final surprise. Although the number's length is a meager 1:09 its structure is an odd A-B-C-A; it returns from whence it begat. A serviceable - and decidedly above average - song, it exhibits the promise of the upper tier of Portuguese producers, though simultaneously routine enough to sound safe.
- John Noggle
Friday, July 11, 2014
Sxmplelife - "Knuck If U Buck (SXMPLELIFE Bootleg)"
"And when the children [...] saw it, they said one to another, It is manna [...] This is the bread which the Lord hath given you to eat" - Exodus 16:15When the heavens open, gifts fall recklessly from above. Insurance covering any acts of God is curiously absent. The nutritional and shelf life are mute points. Whatever is present will be consumed; and like NASA's best creations, it shan't expire in the Sun's lifetime. All relevant praises are sent forth, and the wise appreciate. The rest, the insatiably curious, remain parched. A thirst consumes their clan and this desire ravages any remaining rationality.The solution lies in the answer to a question: was it God, O.G. or the BasedGod?
Similar to Different Sleep and Keyboard Kid, Sxmplelife's music is digitally emotional. Yet the style at hand goes beyond cloudy comparisons and cults of personality. Squinting is not required to differentiate Sxmplelife remixes and bootlegs from the field. The man has an affinity for hip-hop; his selections vouching for good taste. Of course, having no qualms with singles has its own advantages. While tugging at his audience's heartstrings with tortured vocal harmonies - not to mention melodies as gentle as a masseuse's touch - it can be difficult to distinguish nostalgia for memories of hearing the original and the results of prodding at a sea of feelings below an anonymous audience's icy exterior.
A brief aside:
Original works of rearticulation - where Noggle is concerned - can be divided into three bins; a Venn Diagram of sorts. The left circle is for re-imagined works (auteur>original): a new creation built from the blueprints of an another structure; the song's origins remains intact, merely viewed through a lens. The right circle is for re-created works (auteur>original): a novel structure is erected from the remains of a finished project; little remains of a song's original intent as the two reside parallel each other (see: Richard D. James's 23 Mixes for Cash). The center circle is re-fixed works (original>auteur): seeking to improve upon the original, an element, a theme, or any other source of influence is embellished; artistic license is utilized to improve upon a song, not unlike an homage.
But I digress..
A Sxmplelife bootleg often times resides between the re-imagined and the re-fixed. Yet, if his last two releases serve as any indication, gravity is pulling this producer towards the latter. Crime Mob's "Knuck if You Buck" is a confrontational and unapologetically aggressive sons; qualities at odds with this beatmaker's flare. By gutting Lil' Jay's beat, though, a disconnect is created with the spoken words. Lyrics are detrimental to these articulations, even more so on this newest release. By replacing the xylophone with a keyboard, as well as inserting the scene's cloudy ambient effects and distorted, distant vocals, associations with the original are expunged. The opportunity to reflect on the song's content is provided. Solitary reflection on a bar such as "Bullets bustin constantly, rappin in yo city streets/Broken bones lay alone scattered 'cross the concrete" is possible, rather than merely repeating it in the heat of the moment. Another rare collector's item out of New England, sufficient to tithe over followers until his bootlegs EP is released...soon.
- John Noggle
Wednesday, July 9, 2014
DeeJay EstraGaa [DDPR] - Atos Sentimentais ''B.G''
DDPR, in the interest of baseless speculation, are the initials of a clandestine European micro-state/principality. I am willing to extend the benefit of the doubt, however, and not levy this allegation. But any and all reality is difficult to discount. DDPR may merely be the diplomatic wing of a group looking establish said state. Its goal are as of yet unknown. If probability and likelihood are to have any say in the matter, though, this discussion will soon be swayed towards plausibility. Where seriousness is concerned, DDPR is shorthand for a Portuguese EDM crew. Deejays Di Puro Ritmo is most the probable, and correct, solution to said inquiry. Although the skeptical reader is sure to note: even this allegation has only recently been verified.
Composed of DeeJay EstraGaa, DeeJay VadoFox, DJ Dotorado, and Produtor Big Vado the DJs Di Puro Ritmo crew is spread evenly across the Western portion of the Iberian Peninsula. As is often the case in Portugal, all four member are of Lusophone descent. Where specificity is concern, most of DDPR resides in or around Lisbão. VadoFox and DJ Dotorado, residing south of the River Tejo in the Setúba district, qualify as the "around." As a group, however, the primary homogeneity is found musically. Geography plays a secondary role to this mix of kuduro and tarraxo specialists, as the occasional collaborations with Tia Maria Produções (TMP) - or specifically Dj Ly-Cox - goes to show. While all four members are active and prolific, this post in concerned with EstraGaa. Although his music posseses a surplus of rhythm, EstraGaa's strong point lies elsewhere. What sets this DJs creations apart is a willingness to venture into the realm of melody. Where others may experiment with extended synth phrases or adding a second instrument, EstraGaa is fearless in corralling building materials. The end result is not unlike DJ Manny and Teklife: a more gentle sound with greater cross over potential. This Michael Jackson remix is a notable example of this phenomenon; both the selection and the ambition in re-working a mid-tempo 1980s pop song is admirable.
The introduction of "Atos Sentamentais" formidably showcases of EstraGaa as well. In the first forty seconds of the song an ambient effect, two synthesizers, and a three-bar flute phrase provide the track's head. Comparisons to the Zelda theme seem inevitable even if it is just an electronic coincidence. This flute is prevalent in this DJs canon; on of the many novelties guests are welcome to enjoy. Nonetheless, the harmless vibes of nostalgia are a concern once other invitees occupy all the bean bag chairs in this dancefloor/playroom. With the beginning of the first section, the drums are introduced along side a second piece of percussion. The DPPR name does not disappoint. A short gasp - an easily unnoticed vocal sample - plays up the song's syncopation while the four part bassline ends it phrases with a dipthong, as it were. The 2/4 tarraxo beat is consistent throughout the four minute album track. Regardless, a potential nod to "western electro-" dance music varieties exists. As the second portion begins - following a short spoken were interlude - one of the synthesizers emotionally embellishes on the song's melody just before the flute joins and the full effect is achieved. A stop-time bridge highlighting the vocals and ambient synth effect round out first full loop of "Atos Sentamentais," allowing for the live-mixing DJ to transition towards the next number. This specific creation is both pleasant and enjoyable, so long as the producer does not become trapped by his own melodic creations the ceiling is likely to remain high.
- John Noggle
Composed of DeeJay EstraGaa, DeeJay VadoFox, DJ Dotorado, and Produtor Big Vado the DJs Di Puro Ritmo crew is spread evenly across the Western portion of the Iberian Peninsula. As is often the case in Portugal, all four member are of Lusophone descent. Where specificity is concern, most of DDPR resides in or around Lisbão. VadoFox and DJ Dotorado, residing south of the River Tejo in the Setúba district, qualify as the "around." As a group, however, the primary homogeneity is found musically. Geography plays a secondary role to this mix of kuduro and tarraxo specialists, as the occasional collaborations with Tia Maria Produções (TMP) - or specifically Dj Ly-Cox - goes to show. While all four members are active and prolific, this post in concerned with EstraGaa. Although his music posseses a surplus of rhythm, EstraGaa's strong point lies elsewhere. What sets this DJs creations apart is a willingness to venture into the realm of melody. Where others may experiment with extended synth phrases or adding a second instrument, EstraGaa is fearless in corralling building materials. The end result is not unlike DJ Manny and Teklife: a more gentle sound with greater cross over potential. This Michael Jackson remix is a notable example of this phenomenon; both the selection and the ambition in re-working a mid-tempo 1980s pop song is admirable.
The introduction of "Atos Sentamentais" formidably showcases of EstraGaa as well. In the first forty seconds of the song an ambient effect, two synthesizers, and a three-bar flute phrase provide the track's head. Comparisons to the Zelda theme seem inevitable even if it is just an electronic coincidence. This flute is prevalent in this DJs canon; on of the many novelties guests are welcome to enjoy. Nonetheless, the harmless vibes of nostalgia are a concern once other invitees occupy all the bean bag chairs in this dancefloor/playroom. With the beginning of the first section, the drums are introduced along side a second piece of percussion. The DPPR name does not disappoint. A short gasp - an easily unnoticed vocal sample - plays up the song's syncopation while the four part bassline ends it phrases with a dipthong, as it were. The 2/4 tarraxo beat is consistent throughout the four minute album track. Regardless, a potential nod to "western electro-" dance music varieties exists. As the second portion begins - following a short spoken were interlude - one of the synthesizers emotionally embellishes on the song's melody just before the flute joins and the full effect is achieved. A stop-time bridge highlighting the vocals and ambient synth effect round out first full loop of "Atos Sentamentais," allowing for the live-mixing DJ to transition towards the next number. This specific creation is both pleasant and enjoyable, so long as the producer does not become trapped by his own melodic creations the ceiling is likely to remain high.
- John Noggle
Tuesday, July 8, 2014
Dj Firmeza [PDDG] - "Terrorista 4000"
The music is best appreciated at night in a long car ride. Truth be told, though, any confined space is bound to do. Details are not of the essence. So long as the the volume is raised, and distractions are limited, any of Firmeza's tunes can be appreciably heard. These are songs that demand the wide-range of warehouse usurped by a sound system just as well as the privacy of a therapist's office. Contradiction appears to be a running theme. Frustration is merely everpresent and abound. Alas, DJ Firmeza will not rest until singularity between dancefloor and music is achieved.
A member of the Piqueno Djs Do Ghetto (PDDG) crew, Dj Firmeza makes music. Granted he is not PDDG's sole producer, the 22 year old Firmeza sets himself apart through confidence. Influences are many but the desire to create an individual style speaks for itself. An unmistakable credo is heard in his songs: patience is rewarded. The same qualities that elevate a Firmeza track above the field are the same as those that relegate it into oblivion. Their aesthetic is timeless - aside from the odd bandoneon or steel drums - modern flavor is largely ignored. The beats are hypnotic and each Firmeza song bears a signature: a single element is assigned authorship over a track. Like the 'b' in d'n'b, or the subwoofer work in deep-house, it is all about the song within the song. This unique sword has two edge, however, and the audience can be consumed or made passive.
As the beat of "Terrorita 4000" gains its bearings, "typical" and "different" come to mind. The unembodied vocal sample labors over its syncopated, "Cha...cha...chachachacha" portion. This rhythm seems atypical because rather than a fast-tempo kuduro, Firmeza has opted for a slower, tarraxinha tinged rhythm As the introductory segment concludes, a baby cries, a yell is heard, and the song proper begins. Suddenly, the predominant male vocals do not seem as rigid as a sample would indicate. An additional ten-seconds pass before the tag drops, and a child proclaims "Dj Firmeza na casa." A second pair of vocals, male grunts, are incorporated before the sound of automobiles alerts listeners to the upcoming transition. Firmeza's fondness for subtle alteration is heard in the two-bar descending bassline. Both vocal samples adapt accordingly; at times veering further into improvisational territory. As before, the section ends with a seemingly random extended sample - sudden female laughter - and the 4/4 bass returns. The original segment is nearly looped except for the original, stubborn male vocals refusing incessant repetition. A soulful run credited to the female voice and a crash cymbal return the song to a take on the second segment, now featuring a one-note synth. With the outro beginning prior to the three minute mark, the song's free sound liberates it from a structure that appears akin to A-B-A-B. Overlooked, all the while, is the neat thirty second length of each verse. "Terrorista 4000" is a dense and difficult song that challenges it audiences. Do not be detracted by the idea of multiple listens, this is a very good song made in Firmeza's style.
- John Noggle
A member of the Piqueno Djs Do Ghetto (PDDG) crew, Dj Firmeza makes music. Granted he is not PDDG's sole producer, the 22 year old Firmeza sets himself apart through confidence. Influences are many but the desire to create an individual style speaks for itself. An unmistakable credo is heard in his songs: patience is rewarded. The same qualities that elevate a Firmeza track above the field are the same as those that relegate it into oblivion. Their aesthetic is timeless - aside from the odd bandoneon or steel drums - modern flavor is largely ignored. The beats are hypnotic and each Firmeza song bears a signature: a single element is assigned authorship over a track. Like the 'b' in d'n'b, or the subwoofer work in deep-house, it is all about the song within the song. This unique sword has two edge, however, and the audience can be consumed or made passive.
As the beat of "Terrorita 4000" gains its bearings, "typical" and "different" come to mind. The unembodied vocal sample labors over its syncopated, "Cha...cha...chachachacha" portion. This rhythm seems atypical because rather than a fast-tempo kuduro, Firmeza has opted for a slower, tarraxinha tinged rhythm As the introductory segment concludes, a baby cries, a yell is heard, and the song proper begins. Suddenly, the predominant male vocals do not seem as rigid as a sample would indicate. An additional ten-seconds pass before the tag drops, and a child proclaims "Dj Firmeza na casa." A second pair of vocals, male grunts, are incorporated before the sound of automobiles alerts listeners to the upcoming transition. Firmeza's fondness for subtle alteration is heard in the two-bar descending bassline. Both vocal samples adapt accordingly; at times veering further into improvisational territory. As before, the section ends with a seemingly random extended sample - sudden female laughter - and the 4/4 bass returns. The original segment is nearly looped except for the original, stubborn male vocals refusing incessant repetition. A soulful run credited to the female voice and a crash cymbal return the song to a take on the second segment, now featuring a one-note synth. With the outro beginning prior to the three minute mark, the song's free sound liberates it from a structure that appears akin to A-B-A-B. Overlooked, all the while, is the neat thirty second length of each verse. "Terrorista 4000" is a dense and difficult song that challenges it audiences. Do not be detracted by the idea of multiple listens, this is a very good song made in Firmeza's style.
- John Noggle
Dj LiloCox [CDM] - "Bungula"
The image shows a corpse. Asthe non-descript skeleton undergoes is x-rayed it appears to be removing excess brain matter by way of firearm. This is the picture which now greets visitors to the Casa da Mãe (CDM) Records Soundcloud. More surprising than the picture, though, is who has shown it. Resting comfortably within the upper tier of their style, CDM does not fit the mold for shock value. The need does not exist. Where the element of surprise could be employed by a party lacking expressive talents - undermining and compensating an absent creativity - it appears to have found its way into this camp. The bones, however, are nothing to be taken aback by.
Nestled below the soon to be orange waveform is a tag. Reading "#bass" below "Bungula" the audience is left to assume. Yet LiloCox has not suddenly turned towards London or Miami. A song's first three-seconds rarely make an accurate forecast of what is to follow. But this much can be said from the introduction to LiloCox's new song: the music is still Portuguese.
Within the miniscule preface all main elements are exhibited. Unusual for a LliCox track, "Bungula" appears to be minimal. Aside from the the designer's tag, no vocal samples are used; miscellaneous melodies cannot located. A call-and-response potential is conceivable with an MC - boosting the track's legitimate claim as part of a set's warm-up - but alas, merely a pipedream. A mid-tempo zouk beat is the song's rhythm of choice with a 4/4 bass underscoring the percussion. Monotony is broken a mere fifteen seconds later. LiloCox implements an odd drum fill to signify change and cymbals are introduced. Along with an alteration of the bass's signature, the song's variation is as frugal as the elements utilized. Cracking the code enclosing the safe of subtlety is essential to enjoying "Bungula" fully; luckily the bass has access. As the song loops to form it's A-B-A-B structure, the initial 4/4 back returns. The song's other signature - a second percussive tool - is heard in the maracas, and later again with the cymbals. Bass, however, is what drives the song forward. Deceivingly dense and alarmingly simply at the onset, the song is ultimately a refreshing addition to the CDM cannon.
- John Noggle
Nestled below the soon to be orange waveform is a tag. Reading "#bass" below "Bungula" the audience is left to assume. Yet LiloCox has not suddenly turned towards London or Miami. A song's first three-seconds rarely make an accurate forecast of what is to follow. But this much can be said from the introduction to LiloCox's new song: the music is still Portuguese.
Within the miniscule preface all main elements are exhibited. Unusual for a LliCox track, "Bungula" appears to be minimal. Aside from the the designer's tag, no vocal samples are used; miscellaneous melodies cannot located. A call-and-response potential is conceivable with an MC - boosting the track's legitimate claim as part of a set's warm-up - but alas, merely a pipedream. A mid-tempo zouk beat is the song's rhythm of choice with a 4/4 bass underscoring the percussion. Monotony is broken a mere fifteen seconds later. LiloCox implements an odd drum fill to signify change and cymbals are introduced. Along with an alteration of the bass's signature, the song's variation is as frugal as the elements utilized. Cracking the code enclosing the safe of subtlety is essential to enjoying "Bungula" fully; luckily the bass has access. As the song loops to form it's A-B-A-B structure, the initial 4/4 back returns. The song's other signature - a second percussive tool - is heard in the maracas, and later again with the cymbals. Bass, however, is what drives the song forward. Deceivingly dense and alarmingly simply at the onset, the song is ultimately a refreshing addition to the CDM cannon.
- John Noggle
Friday, July 4, 2014
Dj b.bOy [TMP] - "Moh Cota" &"Ta Bonito"
"[...] Even though we say mind and body, they are actually two sides of one coin" - Shunryu SuzukiTortoisse and hares worldwide tell curious folk, "Faster does not always mean better." Where speed is concerned, the small game claims, so is necessity. Humans running with bulls is one such instance. Golf, art appreciation, and old men at sea, however, contend against such rapid action. Appreciating the journey - maintaining awareness through interminability - is the true source of joy at hand. Truth, as it were, has advocates all around. Fielding a victor, though, proves much more difficult.
Yet speed's advantage is undeniable. Kuduro provides an apt dance rhythm but its glory is in the power it wields. What kuduro accomplishes with minimal effort is to exercise effortless control over a room's energy. At breakneck speed this music maintains a crowd's spirits lifted well into a party's trajectory. Slower rhythms, though, need not be the loser. Beats comfortable steeping in a bath drawn from their own malaise seem uninspiring - a relic unwilling to adapt - but after the careful choreography of quickness, a free-form alternative is welcomed. Variety is life's best spice, and tarraxinha is it's advocate. A variant of a semba/zouk rhythm, tarraxo is just as Angolan, but half as frantic. An African born cumbia, its 2/4 time is suited both for dance and respite.
Allow Dj B.boy to curate this after party; he is more than just a member of the TMP (Tia Maria Producoes) crew. B.boy has the Principe Discos seal of approval and "Moh Cota," is tarraxinha track from a specialist. Two vocal samples - a male highlighting rhythmic accents while a female sheds light on the off-beats - are accompanied by a synth as the drums casually, lackadaisically, preface the work for :22. With a pace set the song confidently progresses. In addition to utilizing a second synth, B.boy begins ending phrases with a descending bass drum. As the song reaches its one minute mark "Moh Cota" takes full form. Two vocal samples, ambient texture, drums, bass, and three synthesizers are all used, but hardly simultaneously, each element starring in its own section. The song loops oddly in A-B-C-A-B form. The advantage, though, is the listener's and the DJ's, both prone to get lost in the loop. All of which is due in no small part to Te Pinheiro's mastering, if the original non-album version is to serve as any indication.
A situational master at the tarraxinha game, B.boy's strongest suit is organization. Lesser DJs would perhaps find themselves lost in the plethora of materials B.Boy brings to a worksite. An impressive sense of calm and order seeps through the subwoofer. For this reason "Ta Bonito," is a stronger track than "Moh Cota." What the former lacks in standard symmetry it gains in imagination. Its ten-second introduction presents a foundation of percussion and vocals, but does little in the way of foreshadowing. The following :30 seconds alone sees a second and third drum, along with a harmonic bass, begin to play their role. A drum-fill precedes the introduction of a second short vocal sample to further play up syncopation. With this unfolds the percussion suddenly fades out, introducing a bass effect not unlike an Indian tabla. Meanwhile B.boy still controls the song. Before a sinful amount of comfort is achieved at the track's half-way marker, the producer fades the vocals, unashamed to suddenly prefer a bouncing synth. The absence is short lived, however, and the multitude of elements converge into an audio zenith following the second crew tag at 2:15. No better or worse than kuduro counterparts of the same caliber, B.boy is just another side to the same coin.
- John Noggle
Thursday, July 3, 2014
Deejay Manny [Teklife] - "Perfect Angel 15" & "On Em Works 15"
Like a respectable amount of shag carpeting, Deejay Manny brings much needed softness to a room. For a moment the acoustics not muted so much as sedated. Feet elsewhere work away on reknown concrete and tile. The grounds connoisseur, all the while, does not overlook this novel approach; even bearing the burdens of static electricity. Simple maintenance and preference, though, prevent en masse crossover. Stubborn fixation provided by the known comforts of marble, saltillo, or even parque is the root problem.
Yet the challenge is not converting orthodox disciples - purists will be purists forevermore. As with societal mores and taboos, though, the heathens generally win out. Deciding when to transition is key. Luckily, Deejay Manny's provides an opportunity. For all its glory, footwork/juke music appears, to me, an outsider, obstinate to innovation. As with drum'n'bass, the high BPM's are alluring but provide little stretching room in its cozy confines. Adding to the these quirks is an uncompromising approach. Footwork is dance music first and foremost. Not unlike Trax City's industrial days of yore, music associated with Teklife is relentless. Little wiggle room provided, though, and within it differentiation can be found. Aside from tempo/rhythm changes, use of samples, or simply veering off into left-field there exists crossover potential. So long as a balance is struck - which J-Cush and Lit City has done - the price of doing so does not require selling out.
At which point Deejay Manny walks into the room with a Minnie Ripperton record under his arm and starts mixing. The end result is an album-length that provides easy access as well as comfort. Trumping the source's relative obscurity, however, is the samples length. As it stands, the song lives on the cusp of a remix. What prevents the label's use is that only the chorus and an instrumental break are used. This summarily works in the song's favor because it stands on its own. "Perfect Angel 15" is very much a footwork song entirely driven by rhythm. And as atypical as is the a larger swath of material used, at no point does the track sound cluttered. Manny's bass lives strictly as a percussive tool, allowing the R&B bass licks to stand on their own. Neither Stevie Wonder/Minnie Ripperton's soulfulness nor the juking integrity is lost in the process.
"On Em Works 15," is also an album track. The latter, though, is much more typical footwork; it uses the hospitality of the former by retaining listeners amidst an easily navigable layout. Alas, while "Perfect Angel 15" uses a long :23 introduction as a preface, "On Em Works 15" applies the time towards creating suspense (ironic considering the song's strategic frugality). For example, only three syllables are used for in the entire first section. Not unique to the creator, but noteworthy nonetheless. For the remainder of the song the spoken vocal sample retains exclusive rights to the melody as the rhythm section manages the tempo, while every ten seconds another element is added or adjusted. With each change in the beat the vocals adapt and visitors to this space remain for the encore loop. By nature these songs nurture and invite. Newcomers are not overwhelmed with a clash of sounds and regulars are not pulled away by the unfamiliar. Enfin, these are two very well made songs with little, if any, to dislike.
- John Noggle
Yet the challenge is not converting orthodox disciples - purists will be purists forevermore. As with societal mores and taboos, though, the heathens generally win out. Deciding when to transition is key. Luckily, Deejay Manny's provides an opportunity. For all its glory, footwork/juke music appears, to me, an outsider, obstinate to innovation. As with drum'n'bass, the high BPM's are alluring but provide little stretching room in its cozy confines. Adding to the these quirks is an uncompromising approach. Footwork is dance music first and foremost. Not unlike Trax City's industrial days of yore, music associated with Teklife is relentless. Little wiggle room provided, though, and within it differentiation can be found. Aside from tempo/rhythm changes, use of samples, or simply veering off into left-field there exists crossover potential. So long as a balance is struck - which J-Cush and Lit City has done - the price of doing so does not require selling out.
At which point Deejay Manny walks into the room with a Minnie Ripperton record under his arm and starts mixing. The end result is an album-length that provides easy access as well as comfort. Trumping the source's relative obscurity, however, is the samples length. As it stands, the song lives on the cusp of a remix. What prevents the label's use is that only the chorus and an instrumental break are used. This summarily works in the song's favor because it stands on its own. "Perfect Angel 15" is very much a footwork song entirely driven by rhythm. And as atypical as is the a larger swath of material used, at no point does the track sound cluttered. Manny's bass lives strictly as a percussive tool, allowing the R&B bass licks to stand on their own. Neither Stevie Wonder/Minnie Ripperton's soulfulness nor the juking integrity is lost in the process.
"On Em Works 15," is also an album track. The latter, though, is much more typical footwork; it uses the hospitality of the former by retaining listeners amidst an easily navigable layout. Alas, while "Perfect Angel 15" uses a long :23 introduction as a preface, "On Em Works 15" applies the time towards creating suspense (ironic considering the song's strategic frugality). For example, only three syllables are used for in the entire first section. Not unique to the creator, but noteworthy nonetheless. For the remainder of the song the spoken vocal sample retains exclusive rights to the melody as the rhythm section manages the tempo, while every ten seconds another element is added or adjusted. With each change in the beat the vocals adapt and visitors to this space remain for the encore loop. By nature these songs nurture and invite. Newcomers are not overwhelmed with a clash of sounds and regulars are not pulled away by the unfamiliar. Enfin, these are two very well made songs with little, if any, to dislike.
- John Noggle
Wednesday, July 2, 2014
Gamera - "Terrarium"
For what is is worth, Gamera is not a flying turtle...full-time. Judgement notwithstanding, the now questionable amphibian status of this Bay-Area producer is largely irrelevant. Gamera could very well be a burrowing salamander looking to conquer Alcatraz. At worst that is absolutely the case, and at best it does not matter at all. I am inclined to declare the latter. But perhaps a third way exits. After listening to the Astral Kush releases, recorded in tandem with Khalil Nova, the last option seems viable. The question is not "Is this possible?" so much as "What more is possible?"
Comparisons for Gamera are in excess. The Afro-futurism of Ras G can be summoned just as well as the Basedworld marketing campaign. For the sake of succinctness, and plausibility, though, Spiritwave's aesthetic follow in the vein of Green Ova and cloud-rap. Yet his product does more than perpetuate a style. When a Gamera song comes on the intention is not to create ambient sounds Gamera's sound feels at home among the new wave of hip-hop but his ambition is surveying other grounds. This is a musician that does not wear many hats just for the sake of fashion, but to do his best at making a statement.
Rather than relying on his instrumentals, the man behind this sound has stepped in front of the mic. Listeners are invited to step into Gamera's office. What follows is not disciplinary. This office does not even have four walls because the performer and his audience are conversing in open-air. Appropriately, the song in serene and sparse. What is essentially showcased are combinations of bass & drums, along with harp and ambient textures. Anything else would be excessive. The production lacks a significant "pop" - especially at 0:29 where ground-shifting change is anticipated for naught - just as the writing seems prosodically clumsy. Much like the use of reverb, though, the song is all the better for it. "Terrarium" has an A-B-A-B symmetry; the only thing typical about it. A clear intro, verse, and outro can be heard as individual parts or the whole it was created to form. This results in more of a meditation than a typical song. The words, not unlike a Spiritwave manifesto, are stream of consciousness and seem to come transcendentally. Decidedly not the definitely soundtrack to our collective surroundings, but an intriguing nonetheless.
- John Noggle
Comparisons for Gamera are in excess. The Afro-futurism of Ras G can be summoned just as well as the Basedworld marketing campaign. For the sake of succinctness, and plausibility, though, Spiritwave's aesthetic follow in the vein of Green Ova and cloud-rap. Yet his product does more than perpetuate a style. When a Gamera song comes on the intention is not to create ambient sounds Gamera's sound feels at home among the new wave of hip-hop but his ambition is surveying other grounds. This is a musician that does not wear many hats just for the sake of fashion, but to do his best at making a statement.
Rather than relying on his instrumentals, the man behind this sound has stepped in front of the mic. Listeners are invited to step into Gamera's office. What follows is not disciplinary. This office does not even have four walls because the performer and his audience are conversing in open-air. Appropriately, the song in serene and sparse. What is essentially showcased are combinations of bass & drums, along with harp and ambient textures. Anything else would be excessive. The production lacks a significant "pop" - especially at 0:29 where ground-shifting change is anticipated for naught - just as the writing seems prosodically clumsy. Much like the use of reverb, though, the song is all the better for it. "Terrarium" has an A-B-A-B symmetry; the only thing typical about it. A clear intro, verse, and outro can be heard as individual parts or the whole it was created to form. This results in more of a meditation than a typical song. The words, not unlike a Spiritwave manifesto, are stream of consciousness and seem to come transcendentally. Decidedly not the definitely soundtrack to our collective surroundings, but an intriguing nonetheless.
- John Noggle
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