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
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