If the cold, heartless calculation of logic prevails, the Lord himself is a fanatic of DeeJay EstraGa. God apparently loves a working man. That being said, it does not take extensive effort to notice EstraGaa has lacked leisure time as of late. By process of deduction, God must love the EstraGaa. If nothing else, DDPR's melodic extraordinaire has been a busy man for the past month. A consistent flow of original material credited to EstraGaa appear at least once a week. The man with the flute fetish has also steadily diversified his modus operandi. EstraGaa has briefly ventured into kizomba, funana, and a return to the remix circuit. It is the most recent escapades into tarraxo , however, that even the eldest and most judgemental of fans should pay most attention to.
Released little over a week ago, "Taraxo Quente" is grandiose. This album-length track is torturously slow even by tarraxinha standards. To call it lethargic is a criminal understatement. Tectonic plates shift with more urgency than "Taraxo Quente;" but rarely will an earthquake compare to this production's explosiveness. The introduction alone inhabits an entire minute - normally excessive, but given the song's identity, greed is necessary. Following a period of acclimation, the listener is welcomed by a harmonic synth, brass, and the odd crash cymbal; surprisingly paltry for an EstraGaa song head. Just before the minute mark, an unexpectedly funky synth works with the beat - now including tom, snare and kick drum - in transitioning towards the song proper. The entirety of the rhythm section is fazed out. An ambient interlude allows the audience to cope with the enormity of the sounds consumed. The section which follows uses a second drum pattern. Intriguingly the bass is absent. This mystery is diluted, however, once the first section loops; its increases the drop effect. Ultimately, the song is typical EstraGaa. Palindromic structure aside, a plethora of elements are utilized. A healthy nine sounds appear during a fully used four-minutes.
As impressive as "Taraxo Quente" is, "Taraxa Sem Medo" proves to be the more intriguing of EstraGaa's quest to conquer the formidable Mount Tarraxinha. Bearing a much more routine tempo, this song abuses a cardinal sin during the introduction too. Rather than repeat greed in length, though, EstraGaa opts for sheer excess of resources. In the first :32, a guitar, melodica, cymbal, and two harmonic synthesizers are heard. A simple - by means of comparison - snare, kick drum form the main beat, while a vocal sample provides syncopation. "Taraxa Sem Medo" is so occupied with multi-tasking that the audience may very well overlook the third piece of percussion: an ever present scraper.The vocal and melodica briefly step aside as the producer opts to place a bridge immediately after the first section. Full of gusto, the melodica returns during the second section, just prior to the :90 mark, with a veritable solo - the first of two to grace "Taraxa Sem Medo." The vocals return soon after. As the first section loops, though, it is clear the object is not simplicity. A choir of sort joins the otherwise single beat gasp.
In the end, both extraordinarily mastered songs sound pleasant without selling-out to the aesthetics of the day. Both of impressive enough to merit comparisons to the work of the field rather than the designer's canon exclusively. Frankly, additional criticism is futile.
- John Noggle
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