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
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