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