Nélson Oliveira [TPM] - "Style (Estilo Livre)"

Without a credit on Principe's Tia Maria Produções release, it appears Nélson Oliveira has recently joined DJ Télio, LyCoOx, Dj B.boy, and Puto Márcio in their borderless collective. Rosters are by no means permanent; surprise is minimal. Rock bands and hip-hop management group are no strangers to the phenomenon of fluctuation because creative differences arise in rooms inhabited by charisma and creativity. For this reason the sudden addition should not raise eyebrows; the peculiarity is terribly situational. The reason being: prior to this releaseNélson Oliveira does not appear to have partaken in sharing musical creations. His name is common, but it seems unlikely that the Stade Renais football player or the cyclist without an accented [e] felt inclined to suddenly alter career paths. Where simplicity is concerned, a third possibility exists. This track is a de facto Puto Márcio creation - the man's name being part of the Tia Maria URL - and the proper title is "Style - Nélson Oliveira (2014)."

A voice reaches out. Accompanied by a few meandering notes, the message concludes. Before the introduction fully transitions, the tempo hustles toward full speed. It becomes apparent that a high pitched, two-bar synth phrase will carry the song's melody; meanwhile rhythm is laying claim to the track as a whole. Ten seconds into "Style (Estilo Livre)," the first of two drum patterns begins. Kick and snare are joined by a friction drum. The former forms a kuduro beat while the latter emphasizes syncopation. This, however is no ordinary beat. Any and all expectations lay in shambles as Oliveira presents a novel pattern: rather than simply end the drum break, four more beats are quickly struck. Conversely, the second pattern ends sooner than expected - all of this occurring merely within the first minute. After a brief bridge benefitting listener, DJ, and dancer alike (bearing must be regained), a reminder is broadcast: "Te Eme Produções" is responsible for the chaos. Without sacrificing too much time, the initial beat returns. A vocal sample - a simple yelp - adds a third percussive element while the sole synth shortens its phrasing. As is expected from an album-length composition, the song loops back to the initial portion of the A-B-C structure. 

Anything "Style (Estilo Livre)" lacks is more than compensated for in creativity and surprise. It cannot be said that a myriad of samples are put into place, but those present are utilized pleasantly and in tandmen with keeping an elevated energy level. The expectation for a more dynamic melody, though, is reasonable given the amount of time provided. Regardless, the differentiation between sections is sufficient where a dance number  - the track's main, and very efficiently accomplished, purpose - is concerned. Most importantly, and in returning to the beginning, credit deserves to be showered upon the rightful head responsible for this song because. It is a truly exceptional track.And for what it may be worth, the picture next to"Style (Estilo Livre)" is the only one presently on the internet.

- John Noggle