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
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