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
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