Dj Liofox [PDDG] & Dadifox [ PDDG] - "Joana (Edit 2k14)"

What follows is a song for hard asses. Lovers of global bass, though, should turn away. The dual-action filing is done so with a purpose. After all, the track in question is a remix. Like Os Detroia and Limas do Swagg, Os Vagabanda are kuduristas: equal parts dancers and singers. In essence, this curvaceous collection of humanity is a two-piece group from Angola with many friends. But after a four minutes Vagabanda become desktop philosophers. Without time to spare the of morality wastebin arson is explored; as well as an argument for throwback the NBA jersey of the year. Most noteworthy, however is the strong case for being called Os Sonambulistas if a re-branding is ever in order.




Perhaps ironically, "Joana (Edit 2k14)" is more typically Angolan than a recent PDDG release with Luanda in the title. Humor aside, Liofox and Dadifox successfully carry over their game-plan for the remix at hand. The song retains its structure (aside from playful introductory editing) and is attacked from the rhythm section outwards. While the original marimba melody escapes unscathed, though, the most notable difference in "Joana (Edit 2k14)" is the drums. Rather than alter the rhythm, PDDG opts for a transition towards claps with no subtlety A ride cymbal adds variety to the beat, and shaker contributes to the embellished role the periphery percussion now plays. But what proves to be of greatest impact is least notable. Sometimes little bass boost goes a long way.

- John Noggle

Dj Liofox [PDDG] & Dadifox [PDDG] - "Baia de Luanda"

No less than three beats can be heard on "Baia de Luanda," a mid-tempo batida that Piquenos Djs du Guetto released just over a week ago. For a song rich in resources, however, "Baia de Luanda" only draws passing attention toward its whistles and brass. Sure, a two-bar melodica alters its melody. Of course the horns ending their phrase on a high notes is interesting. Lest the vocal samples - not to mention a persistent shaker - and their rhythmic consideration are overlooked. But no sooner does the track start than listeners' ears are mugged. Diversity in rhythm is the theme. The main beat is reminiscent of a recent collaborative effort between Black$ea Não Maya and Txiga Produções, but "Baia de Luanda" does not aim to be a genre fixture. Dj Liofox and Dadifox have invested their energy in crafting a dance track - and an effective one at that - from common beats that use drums from Western Africa as well as the western hemisphere . Baia de Luanda" is typical of Lisbon and a terribly fine example at that.

- John Noggle

Key! x FKi - FKEYi EP

Every beat the six featured songs has a change in tempo. The drum samples, however, are nothing out of the ordinary. When combined with a respective run - which range from lush sounding choirs to playful synths - a soft lush, feel is masterfully crafted. Fki's Production demands more attention more than merely because the tags are loud. The template is immaculate and the sound is rich. These beats, though, are not meant to stand alone. So what can be said about the vocals? Listeners will find half-sun and half-rapped vocals that has a long list of influences. The proper term, I believe, is ice cream cone vocals: the origins is of this treat are known, its contents are not healthy, but it is consumed regardless. In that respect Key! holds his own; his ad-libs are are a good hype-man. Vocoder effects are used purposely to show technical prowess more. But ice cream cones are not meant to be enjoyed alone. As social music, any judgement is speculative. But the fact that F Key i as a whole feels like it could pass off as dance music (especially "Don't Believe Me" if not for, or because of, the blatant Dora the Explorer reference) only helps its social stock. "TMZ" sounds as though it could chart with a proper radio edit. To say interesting seems obnoxiously vague...but it is also conveniently accurate. If nothing else, "I Understand" has iLoveMakonnen on it and is a banger.

- John Noggle

Dj BlaCkinhO [DDPR] - "Funana Instrumental"

Of all the Dj's di Puro Ritmo featured on these pages, Dj BlaCkinhO is the least celebrated. So with under the guise of social DJ justice, B-Side A-Hole turns its attention towards Cabo Verde. As the eponymous song title implies, Blackinho has not opted for a batuco. Rather, the following beat explores another typical Cape Verdean sound called funaná. The tempo maintains an appropriate breakneck pace as well a traditional instrumentation. In addition to the drums and four to the floor bass, a two-bar accordion merits spotlight time. The free-reed instrument divides the song into two sections which loop throughout the track's two-minute duration. Serviceable overall, "Funana Instrumental 2014" boasts two strong points: 1) the points when the melody stutters to taste 2) the mild effects placed on the accordion. Where comparison is concerned, however, DDPR co-hort DJ Dotorado earns the upper hand. While equally danceable, Dotorado's July release is simply more imaginative in both rhythm and melody.

- John Noggle

Khalil Nova ft. Akumasanti - "NovaCouncil on Attack"

"Only cosmic n*ggas, conscious n*ggas feel me / I was blessed by the gods, I love who I be" - Khalil Nova

Mankind is rich in celestial events. Upward eyes, and archiving minds, will note 2014 been a heavenly active. Despite its ominous name, the Blood Moon did not leave a single mark on any door post. A Super Moon or two may have postured with a larger than normal build; but this was merely the product of stacking a freak cycle. Even the sun felt the need to flaunt some dramatic flare. As a result the sky continues to be humanity's best and most eclectic source for wonder and entertainment. Safety, though is not guaranteed. It only takes one wayward skipping stone to remember that Earth plays only a miniscule role in the universe. Outer space is distant but not immobile.

Fortunately, not every galactic visitor is intent on causing harm. Khalil Nova - part-time inter-dimensional explorer and full-time mahjin boo afficionado - is one such case. Even if the Shining Being's visits to the blue planet have become increasingly scarce, the messages that do arrive still capture the imagination. On occasion the god of lo-fi might even bring with him a travel companion to beat the inevitable loneliness of light-years long time-and-space trips. What follows is the one such instance.

The song below finds Khalil Nova towing the line of his post F*I*N*D transition. Alongside fellow galactic resident Akumasanti - whose voice is reminiscent of Fiend - the more spacious arrangement of earlier Nova staples ("Blunts2DaSun" and "Puma" are just two examples) is jettisoned. The interstellar medium, as it were, has instead been replaced with the persistent presence of hi-hat rolls; which is not negative in and of itself. Rather a it is as if a new element of intrigue has been introduced. While not nearly as captivating as the half a Sumerian track without drums Kuma and Nova two performed on 808s of Death 2 earlier this year, the tempo shifts on "NovaCouncil on Attack" deserves attention. Otherwise, the joint maintains Nova's status as being able to do the most with a limited arsenal of sounds. Sit and be swayed by these tidal flows.

- John Noggle

Dizona Crew Deejays - "Bella Me Tarraxa (DZC Deejays Remix)"

History has been made. Right now - this very moment - is a testament to millennia of human achievement. Finally, the vast expanse of this galaxy will no longer be considered the largest zoo in the universe. Not a single eagle was required. Peter stayed home with Mopsy, Flopsy, and Cotton-tail; where all good rabbits belong. Instead it was MOM that undertook the risk, and was handsomely rewarded by orbiting the Martian surface in the name of science, country, and destiny. With just one attempt the Indian space program accomplished what was once thought nearly impossible and succeeded in reaching the red planet.  If nothing else, MOM's voyage is more evidence for the why space is still the place...

...albeit a puzzling attempt at bes. Look at the facts: Earlier this year, the Indian government elected a new chief executive; and with this new administration came a desire for revisiting diplomatic shortcomings. Thus it would only seem natural for Mr Modi to open a dialog with Damagical - representatives of the Martian foreign ministry who visited Luanda, Angola, Earth a month ago. Pharao Naldanger (possessor of seizure-worthy abdominal muscles) and the King of Love (cut-off jean truther) carry with them the potential to be misunderstood. But the message hidden beneath their potential is hardly hostile, rather it is one of mega-parties and inter-space cooperation of which governments dream.

But Damagical has still not been acknowledged by representatives of earthly governments. And as such, the movement must continue to grow its grassroots strong. Dizona Crew just happens to be the latest group to show solidarity, releasing a "Bella me Tarraxa" remix yesterday. Like the Suaviicoxx x PDDG effort which precedes this release, the Sétubal-based DZC crew opts for a re-fix approach; original intent is maintained while the manipulators instill personal touches. Both the melody and zouk beat remain intact. The song's Angolan essence, too, is spared a change. Save for the odd hit-hat and crash cymbal, DZC opts for primarily West African percussion. The most interesting moments, though, are saved for the hook parts. In addition to syncopated finger snaps and vocal samples, high-pitched synths and miscellaneous percussion are heard. The end result is an immaculately remix well-worth the download.

- John Noggle

Black$ea Não Maya x Tia Maria Produções - "Batucada do Guetto"

The late-summer/early fall push continues for Black$ea Não Maya. Inactivity, it seems, has found a proper home in the past as the crew temporarily moved in with the prolific Tia Maria Produções. Case in point: last week BNM released their third song in a month, the second of a collaborative variety. Is this a sudden creative burst? Sure. But are we living in the midst of a Coltranian feat? Hardly. These tracks are, however, intriguing in their own right.

The first was a busy track, though not marking any radical aesthetic departure. "Voçê é feia," a song bearing the "batucada" genre label, has a quick tempo and enough vocal samples to start a small church choir. Still, subtle changes are heard throughout. Immediately clear are the sounds uncommon: horns and cuíca. The next song - a joint effort with Txiga Produções - goes even further. Content-wise, this number centers around a novel beat. Moreover, categorical guesswork is eliminated here as well. With a single glance of the title - "AfroBatukada" - listeners are left to presume these are the elements of a new style. But like kuduro, batucada is not new. Likewise, both are a reference to dancing just as much as usic. The difference is in origin; Cape Verde as opposed to Angola. Granted, batucar is also a verb meaning "to whip together." Just as well a third linguistic connection is found in the Brazilian state of Amapa and the noun "batuque," which refers to a religious celebration.

Regardless, "Batucada do Guetto" is immedaitely an appropriate third entry in this developing BNM collection. In typical Lisbon fashion, three percussive elements are heard immediately. The introduction is long and noisy; the only honest way of describing the sirens and sheet of sound synth. These nearly thirty-seconds, however, are not composed in vein. The song's head is played twice: once before three false start and once after. Suddenly the ambient sounds dissipate and a third, distorted vocal, as well as a scraper, appears. In a sense, "Batucada do Guetto" is arranged like "AfroBatukada." Each crew receives a portion of the whole. Fascinatingly, though, the whole might as well be four 'brevemente' parts. The two Tia Maria sections themselves contrast each other. A robust dundun drum alongside a shortened version of the original synth are heard first. What follows is a tempo shift towards the faster end of the spectrum, with a new melody, and novel vocals including the soothing sound of Lil Jon. Like a good jazz song, the stakes have been raised.

- John Noggle

Dj BeBeDeRa & Dj ZuLox - "Viva Sangria"

It used to be that only juice came in pouches. Capri-Sun was a school yard favorite when I was growing up; even if removing the plastic straw that came with it was a challenge. Lest I mention the terrible precision required in placing said straw in a small aluminum hole. Just the right angle was necessary to not poke through the pouch. Alas, this sugary drink - and the rush of energy waiting to be induced - was well worth the trouble. So naturally, this bit of juvenile technology,was too good to entrust the youth with.  Botas are overrated. So perhaps an alcoholic energy beverage quenches your thirst. Maybe classier readers prefer a wine pouch when the boxed variety is just too much work.

The point is that an option exists for anyone, and everyone, interested. Such is the way of a consumer economy. But despite his name, Dj BeBeDeRa is much more respectable than, say, sangria in a pouch. Based out the city of Lisbon, BeBeDeRa is an independent beat-maker who, nonetheless, has worked with the likes of MaboOku. The man known to the government as Mr. Furtado specializes in slower songs.Think more an hour past last call than a slow-dance ballad; hence the name. Look no further than the man's SoundCloud; it is riddled with tarraxos and sembas. BeBeDeRa is essentially a connoisseur of after-hours music; and his music, like any after-party, requires patience. His tunes are not flashy, instead they develop; evolve. Dancers are pulled into BeBeDeRa's atmosphere and lose all inhibition. The smallest cues give way to ecstasy.

Such was the case the last time BeBeDeRa collaborated with Zulox; a DJ from Margem Sul more in the style of a party entertainer than a producer. Regardless, Zulox occasionally jumps on tracks. The result of which is usually a net positive. "Tarraxo Sem Avental"  - a relentless, layered song with a delightful complexity - is a case of this; "Viva Sangria" is another. Much to the contrast "Tarraxo Sem Avental," though, "Viva Sangria" finds BeBeDeRa and Zulox working with a batucada rhythm. In addition to the strict use of Western African drums amid the pounding bass, the song uses a number of melodic staples seldom heard from these artists. A flute, marimba, synthesizer, and guitar all eventually make a presence. Most intriguing, though, is prevalent use of vocals from normally instrumental artists. The master of ceremony aspect cannot be underplayed; a sense of forward direction is given to an already intriguing sound. A further showing that new beats, new concepts, and new sounds, are still to be found - all it takes is sufficient imagination and the technical skills to carry it out.

- John Noggle

Puto Anderson [Txiga Pro] - "Asian Party" & K30 [Txiga Pro] - "Panca de Joe, Pt. 2 (Estilo Chines)"

"We will need to accelerate efforts to pivot to new global realities." - Hillary Clinton, October 11, 2011

With each passing day, the world becomes smaller. Thomas Friedman might prefer the term "flat," but a certain 48 year old Disney song begs to differ. A New York Times columnist has clout. An Amusement park ride, however, claims deep roots in our shrinking planet. And this is, after all, the 21st century; timeliness is an art, and being topical is key. Globalization calls for new strategies and catchy slogans. Remember that the present hundred year period did begin with a grand declaration for a "Century of the Americas." And not to be outdone, the following decade brought an even fresher foreign policy pitch: Asian Pivot, or the Pacific Century (quoted above).

Politics, though, are nothing more than a matter of opinion. Success is relative, too. So grandiose judgements of international affairs aside, it stands to be mentioned that the world is not all cynicism. At least one group is contributing to the cause. Of course, Txiga Produções is neither a non-governmental organization nor world renown, but their efforts should not go unheeded. Txiga Pro lead by example. Lat week the crew exhibited the value of personal relations and compromise with a individual collaboration between EDyFoOx and Puto Nuno. But coalitions are of the utmost necessity too. For an example, look no further than the Black$ea Não Maya Vs Txiga Produções summit. So naturally, perhaps, the goals have become even loftier this week. Txiga Pro looks to pick up where the Century of the Americas and the Pacific Century have fallen short.

First up is Puto Anderson. With a release titled "Asian Party" the leader of Txiga Pro opts to work with Brazilian batucada rhythm. One single drum, sounding not unlike a djembe, is used for the two-minute duration of the song; using slap and bass possibilities at will. Even with four to the floor bass, the track's integrity is not compromised. A second and third piece of percussion appear during the first section; each of which is marked by effects. But more surprising than the total of three syncopated vocal samples ultimately used is the stringed Asian instrument appearing alongside drum fills near the end. "Asian Party" sports an imaginative, albeit sparse appearance, bolstered by a dynamic organization.



A few days later, Txiga associate K30 shares a batucada of his own. As with "Asian Party," only West African drums (save for a lone cymbal) are heard. "Panca de Joe Pt. 2 (Estilo Chines)" has a long introductory segment - a meager twenty-two seconds on paper, but ultimately a quarter of the song's length. The time, however, is used purposefully. Listeners are introduced to the foundational rhythm; provided bya shekere and what sounds like the rich texture of a bougarabou. Rhythm does carries the song. Percussion, though, not the only sounds heard. This song, too, is desolate but it only adds weight to an indistinguishable melodic element. Far from mundane, the varying length of phrases from the melody adds intrigue to the already danceable track. A quality release overall.

- John Noggle

Dj Firmeza [PDDG] - "São Tomé"

"Sooner than wait for/A break in the weather,/I'll gather my far-flung/Thoughts together." - Pink Floyd, "San Tropez"

Even when accounting for their frequent, sudden, and drastic changes, the outfit's sound is unanticipated. Each member, it seems, is performing facsimile to a burnt-out wedding-band for hire. Then again, 1971 was a notable year for Pink Floyd. It was in this year that the quintet released Meddle, reaching a new milestone in the process. After the necessary transition spurred on by the loss of Syd Barrett, the new line-up's focus began to coalesce. Perhaps this is what makes the easy-listening lounge appearance of "San Tropez" - tucked away before the epic "Echoes" - so stunning. Waters had already contributed solo compositions. Likewise, this was not the first case of the band engaging in genre exploration. Plus, Gilmour had already debuted his acoustic abilities. Alas, what makes "San Tropez" so interesting is context. The group reached maturity; and with it the gargantuan Pink Floyd machine had solidified an identity. The slightest bit of personality could now appear.

Fortunate or not, the samples DJ Firmeza elects are not of the British prog-rock variety.  Titled "São Tomé" - whose namesake is an island west of Equatorial Guinea - the track is senselessly distant from Pink Floyd's music. One can even say that "São Tomé," like its geographic equivalent, is thousands of miles apart from "Saint Tropez." The comparison, however, merits exploring. DJ Firmeza is an established beat-maker, and flaunts a style all his own. Synonymous with the Os Piquenos Djs do Guetto, listeners both casual and dedicated wait in anticipation for a new joint. Meanwhile, expectations develop. Songs with Firmeza;s name attached are always of a high quality, percussion heavy, and inventive. With time, though, Firmeza bucks standardization, and rarely disappoints. A part of his cache is to conjure unique beats: his style is to be unexpected.  All of which, makes "São Tomé" even better.

As "São Tomé" begins, an electric guitar is heard. The Antillean feel is not surprising. A melodic prescence, though, is rather unexpected. Single-bar sounds have, of course, been heard in Firmeza's runs before. But more often than not these synths merely occupy otherwise empty space. On "São Tomé," however, the melody is central; even incorporating horns for the harmony. With the song's head now developed, its bass too seems tame by this producer's standards. As with the melody, Firmeza is no stranger to the four-to-the-floor house aesthete. But following a brief interlude - the introductory eight seconds - the DJ's recent maturity becomes clear. Firmeza sounds patient. Each section employs a single new element. And alongside thus restrained bass is a curious absence. A staple is missing. No vocals are present. Not a single voice is heard throughout. Firmeza, without showcase every strength in his arsenal at once, does not sacrifice any syncopation, succeeding once again.

- John Noggle

Three Remixes for "Tourner la Page"

If her music career does not pan out, Zaho would have every right to feel beleaguered. Any person out of work feels despair. But to label this fictional downfall "the end of a career in media" seems drastic; alternatives do exist. The Algerian born, French pop star (and Fedora wearing Sean Paul collaborator) is a singer by trade. But if Zaho so desires, she could  hold her own as a television presenter. At first glance "Tourner la Page" could be mistaken for a high end nature documentary. Second glances might conjure the possibility of a D12 retrospective. Third glances, just about when the tide begins flowing backwards, beg the question, "Is this the subtlest Laibach reference in history?"

At any rate, life is life, Zoha's on screen presence has range, and the song that follows is love a ballad. The second single off the 2012 album Contagiuese, "Tourner La Page" is full of the vocal runs and emotive pleas typical in radio friednly fare. Which is not to say, though, that lyrical gems such as "Drunk like a poet, free like a bird / I keep loneliness company" should be overlooked. Yet what is most intriguing about the song is its sparing arrangement. As if to signal that the narrator has finally overcome her challenge, drums, guitar and bass are incorporated only during the final chorus. Prior to this, "Tourner la Page" is simply Zoha's voice and a piano, making it a prime remix candidate.



Despite its questionable relevance - having been released as a single one year ago - a sudden surge in interest has befallen "Tourner la Page." Adolescent beat-maker, and name stylization enthusiast, dj kingFoOxx evidently starting this trend a month ago. This version maintains the song's original order but is not interested in perpetuating original intent. What follows is very much a full-length re-imagination as a dance song; as heard in the selection of a snare drum that unfortunately competes with Zoha. The claps which begin the song, which unfortunately do not return, are joined by a vocal sample that provides syncopation throughout. A danceable rhythm overall, the song in and of itself does not suffer the same affliction from merely being juxtaposed over a kuduro beat. It is, however, a remix that undeniably fits the dj kingfOxx canon.

Precedent having been established, another remix of "Tourner la Page" appeared a week ago courtesy of MixBwé. Much to the contrast of kingfoOxx's interpretation, the AVP producer opts for a different approach. Aside from less aggressive tempo - MixBwé's genre of choice being zouk - the vocals are eliminated. Instead, the bass carries the song. What follows is instrumental track, a re-creation, that replaces the instrumentation (or in the case of the guitar, provides a variant) with genre specific choices. The original melody, its only tie to the original, is never sacrificed in this noble effort.



Like a John Ritter sitcom, the number three provides a sense of completion. And with the song below, Tixa Pro's DJ Wayne provides the third, and as of present, final Portuguese release of "Tourner la Page." Bearing a similarity the kingfoOxx's track, Wayne opts for a kuduro remix. This track, too, buys the original structure wholesale. But in working alongside remix artist JuzicyBeatz, Wayne takes advantage the sound void to an alarming degree. Percussive elements do not demand the spotlight -  the pair opting to vary the drums and eventually incorporating claps. Instead every sample possible, from marimba to airhorn, is recruited for decorative purposes.

 
- John Noggle

Black$ea Não Maya Vs Txiga Produções - "AfroBatukada"

Being prolific is an advantage in and of itself. As mentioned here before, God loves a working man. But the ability to churn out a large amount of product indicates neither adoration nor adulation. Consider 1970s sitcom The Brady Bunch. With a straightforward, albeit unlikely, premise a super-family is created by two newly single parents. Both adults happen to have three children of their own, and by way of a second marriage create a new household. Five seasons and four decades later the cultural impact of the television program continues to reverberate in the American psyche. But while the Bunch's five seasons are no outlier - Leave it to Beaver and Sanford and Son boast six each - its total number of episodes is; the aforementioned showcase 200+ and 135 episodes respectively. On a per episode rate basis, then, it appears that the Brady Bunch was much more effective in buying good will from the viewing public. Quantity v. quality.

Like the Brady Bunch, Black$ea Não Maya too does the most with what little they release. Since dropping the excellent "mix batidas do guetto" in July, BNM has only one original song to their name. And that song too - a kuduro called "Voçê é feia" - was quite good. As a matter of fact, BNM has only three short form credits to their name in the past three months. But like the second act of a screenplay, the plot thickens. Now, Noronha, Perigoso, and Kolt, appear to preside over an ever expanding household; like the fictional television family of yore. The latest addition to the extended family, which includes Produtor Big Vado and Dj Locks among others, is non-other than the Oreias outfit Txiga Produções.

"AfroBatukada" is a composition marked by surprises, beginning with the foundational rhythm. Eight single beats mark the beginning of the track. What follows is a staple of the BNM sound: the fast-tempo. But while the miscellaneous syncopation is not new the beat is, unexpectedly ending with an drum fill. When coupled with the brief string and cymbal ambient sounds, a sense of suspense is created. What will follows are call-and-response vocals (one higher pitched, one lower pitched) completing the rhythm section. Unlike the joint BNM-DDPR release, "AfroBatukada" is not a single, joint effort. Instead, it resembles more the CDM-Txiga collaboration from earlier this week. Each collective takes authorship over their own section. The sum of their parts makes up the whole. BNM is first, expanding the synth to two-bars with introducing a batida rhythm. Second is Txiga, marking its entrance with a scream. Digital drums are brought into the mix and the beat takes a turn back towards batuca. The higher pitched vocals sample become shorter and more frequent. Ultimately the foundational rhythm returns, as does the lower pitched vocals. Impressively, the order works to the song's benefit, facilitating the steadily increasing energy. Another quality release.

- John Noggle

DJ set I can't ado much about - Bebe Poco "Apresentação dos L.S Produções"

Four total units are required. The ingredients are neither rare nor difficult to ascertain. Moreover, the directions are simple enough that an illiterate can follow them. So long as the tools with which to combine them all that are available, preparation should last about as long as enjoyment of the dish itself: about ten minutes. As always, cleaning up will prove to be the most laborious task of all. Ready? One part of promotion, one part fandom, and two parts awesome - that is this mix on a surface level.

A quality that is often is taken for granted in any set of culinary instructions, however, is skill. Talent, learned or otherwise, is easy to overlook. Not only that, but ability takes more than one single form. If nothing else, this mini-mix serves as an example that skill is amorphous and very much relevant in putting together a set of any duration. Enter stage right: Bebe Poco (Ýouknow). A DJ in the traditional sense, Bebe Poco is prolific; but rather than publish original compositions, he proves himself to be an adept organizer. Not only can the man known as Bebe isolate a good song, but he is also able to give it conjecture.

On this mix in particular, one of two released this week, Bebe Poco introduces listeners to the Queluz crew L.S Produções. The source material - relevant at all times - is consistently energetic. Fast-tempo kuduro, batida, and afro-house tracks dominate but are gently introduced by means of of fade-in. A Cirofox song from earlier in the summer is featured just as prominently as Willicox's solo and collaborative release from last week. Transitions in the apresentação are seamless mainly because they follow the Bebe Poco modus operandi: fearlessness. Much like on the ghetto party mix - a mostly CDM themed mix - Bebe is not afraid to play two songs simultaneously because he is able to make it work. As a result, the general feel is more a purposeful collection of sounds rather than a mere playlist. Make sure to enjoy the download.

- John Noggle

EDyFoOx [CDM] & Puto Nuno [Txiga Pro] - "Nunca Copia"

Retirement is more than an age. The ability to receive a pension, tangible or otherwise, is certainly a benefit. But consciously deciding to drop out of the workforce is a state of mind. Any number of reasons can justify the action  - lack pleasure, dearth of challenges, or perhaps a simple desire explore - yet it boils down to "nothing is left by means of productivity." One's best contributions reside in the past. The future, in its majestic mystery, is full of potential answers to these voids.

All of which makes EDyFoOx absolutely fascinating. The one time member of Piqueno Djs Du Gueto, after all, retired two years ago with this beat; only to reappear last year with this beat. And the comeback, as it turns out, is of the exponential variety. In a sign of things to come EDyFoOx (a.k.a. Portuguese Brett Favre) followed his comeback beat with an album-length afro-house collaboration alongside Casa de Mãe's LiloCox later in the year. After hooking with CDM, the Gunslinger from Lisbon released his own kuduro-tinged solo effort via the imprint. So for those keeping score at home, "Nunca Copia" marks his third release of 2014; and the second of a collaborative variety. If the trend holds up, consider the following: Brett Favre, currently age 44, wore the number 4 throughout his career. Conspiracy theorists rejoice!

At any rate, "Nunca Unica," which was released a week ago, is not unlike the releases mentioned above. The bass is heavy. Tempo-wise, the song favors a faster persuasion without being identified by it. The beat is rooted in kuduro/batucada. Even after a first listen, though, "Nunca Unica" sounds unique; a subtly aggressive attitude being heard immediately in the introduction. The bass absolutely rumbles. And if the initial salutation is to serve a a character witness, the head is a de facto resume. The rhythmic dynamism never subsides. A traditional drum - hi-hat and woodblock creating a restrained, anxious feeling - and an unidentifiable element round out the three percussive tools EDyFoOx and Avessos Recordz/Txiga Produções member Puto Nuno will use throughout. All the while, the collaboration proves to be a unique aspect in and of itself. Whereas previous EDyFoOx "duplas" play as a single piece, "Nunca Copia" is divided as follows: A-B-C-D...head, EDyFoOx's verse, Puto Nuno's verse, and a unified verse. No loop is present, and a plethora of effects serve as markers in what may be a sign of a new aesthetic fad. If nothing else listen copiously to appreciate the bass, manipulation of vocal samples, and use of peripheral percussion. A strong track overall.

- John Noggle

Dj Wilicox [L.S Produções] & Puto Baba [MNJ] - "Chinchiví (Afro Jungle Remiix)"

"I think of the African Diaspora in Peru as being a second diaspora in the Americas [...] (because) the forefathers and foremothers of Afro-Peruvians had to make a second journey [...] (;) they were separated in a sense from the core of the African diaspora. The citizens of the Black Pacific world on the Pacific coast were isolated to a large extent from these Black Atlantic cultural forms [...] (that) you have a greater perpetuation of African-descended cultural traditions." - Heidi Feldman, author of Black Rhythms of Peru

Remixes are not found here in abundance. Tracks of this nature are decidedly not my favorite source of inspiration; they are hard to judge and even more difficult to write about. But regardless of the present author's neurosis, remixes are a legitimate form of expression. If nothing else they add a degree of separation, with a stated purpose, to a finished product. As such, these pages are not deficient of creations in this vein. Hip-hop has been re-tooled, soul has been re-purposed, pop has been manipulated and even reggaeton was once summoned to prove a point. Given that a considerable amount of focus is regularly given to music from Lisbon, though, African sounds - whether kuduro, tarraxa, or afro-house - are perhaps most frequently heard. "Chinchiví (Afro Jungle Remiix)" does not change this. What it does, however, is add a new geographic badge to the collection: the Southern Hemisphere of the new world.

When considering the eminent locations for African music outside of humanity's cradle, Cuba comes to mind. Likewise, Jamaica, Brazil, and the United States can be summoned. Each location, and its population, came from different histories and faced different conditions. As such the music from each country has its own sound. Peru may not be mentioned in the same breathe, but this is not out of spite; even if 2pac's name must have come from somewhere. Instead, Peru is more often associated with empires past. Yet DJ Willicox and Mãn Juh's Puto Baba have chose a song by one of the forefathers of Afro-Peruvian music, Pepe Villalobos. F"El Negrito de Chinciví" is a number in the coastal "criollo" style of music called "festejo." It normally features a cajón, guitar, and vocals (both male and female) while playing to dancers in 12/8 time (or so says the NYU School of culture). It is history, it is culture, it is...music. But most intriguingly, it does not require much squinting to see the parallels in terms of condition between the older isolated, African inspired dance music (mentioned in the quote above) and the more recent electronic variant (once again, written about here exquisitely).

In regards to the remix at hand, Willicox and Puto Baba's biggest achievement is in allowing their source material to breathe. The latter beatmaker may prefer faster tempos but relies instead on his afro-house sensibilities. As a result, a four to the floor bass proves non-intrusive. Listeners are allowed to become acclimated to the original bass and vocals, while enjoying the peripheral tamborine. Yes, the mastering is not optimal. But where the kuduro beat is concerned, these two producers opt for simple snare-cymbal combination; and as such their creation does not sound cluttered. Reality is much to the contrary as woodblocks can be heard serving as auxiliary percussion.  The only window-dressing heard is a brief keyboard alongside the original guitar. What follows is a re-fix. tried and true, that builds on the legacy of Villalobos's composition.

- John Noggle

EdiCerelac [MNJ] - "Oliva 2014"

Do not believe punk historians. Billy Idol was not the first person to popularize dancing all alone. That honor goes to a nutty professor - even nuttier than latter-day Eddie Murphy - by the name Jerry Lewis. Granted, the face of telethons past was but an actor playing a mad scientist. Regardless, Buddy Kelp could dance; and when he did so, it was a sight unto itself. Consider this scene. While high society types of the mature variety flaunt every ounce of proper behavior at this formal gathering, the Professor chooses a different path. Standing at the far end of the room he prefers to enjoy the dance music. As the big band plays swing, the rhythm builds up in Buddy. Genuine pleasure is on display. He nods his head, he taps his feet, and even begins to shadow dance. Any remaining shame is discarded as he embraces the full potential of his own personal jitterbug. Those around him are appalled, but this does not cease the scene from unfolding (as it well should).

Portugal, too, has a nutty professor. In the district of Lisbon, in the city of Queluz - along side L.S Produções and DJ Bubas - lives the head of Mãn Juh Produções (MNJ). Rather than dance along to jazz, however, EdiCerelac makes mid-tempo kuduros and batucadas. But Edicerelac productions are...different. Puto Baba likes to work with faster tempos, but the difference is surely not this simple. Piquenofox has a penchant for afro-house, but this too seems terribly obvious. And like his MNJ co-conspirators Willicox and Mabokinho, Edicerelac likes drums and bass, and goes heavy on the synth. What, then, could it possibly be that makes Edicerelac's songs unique? His beats do not showcase a plethora of elements, yet the songs are never sparse. And herein lies the key. EdiCerelac's instrumentation is utterly unpredictable. While the sound of the drums across Lisbon sound familiar regardless of the composer, EdiCerelac's sound fresh. And melody-wise, his songs may give the impression that something just does not quite fit but they cannot help but sound pleasant.

The synth is high pitched, and following a false start takes hold of the song's melody. The rhythm to "Oliva 2014" is not dense; a simple mid-tempo kuduro beat made up of a kick drum and a snare. Once the head is within the consciousness of the audience, the synth phrasing becomes shorter during a brief interlude. The rhythm remains the same. Suddenly, the song is elevated. At just past the half minute mark, the synth is pushed into harmonic duties and "Oliva 2014" becomes more than a rudimentary kuduro. The guitar not only sound out of time, but it feels out of tune. Moreover, the strings do not end their phrase on a high note; it is almost as if the guitar is playing on a chromatic scale. These sounds are equal parts distressing and excitable as the emotions of chaos well up in the listener. Nothing short of beauty in imperfection is heard just before the song loops. "Oliva 2014" is a success two-fold economic success. The :90 length is ideal for its use in a mix and each of the four elements put into place are used to the fullest extent. In short, a very good song.

- John Noggle

Dj WilliCox [L.S Produções] - "Uma Coiisa Diferente"

It is not immediately clear where the song is headed. The rhythm is largely non-descript. Try as you may, it is elusive to classification. Still, on the surface, five beats from a maraca are heard. A single drum accents the rhythm on the even beats. The two synth notes - solitary guardians of the melody - rest on the lower end of the pitch spectrum. Yet, for all the ambiguosity in the head, listeners cannot help but feel reassured. The audience may not know where the final destination is, but the driver appears to have no trouble with the directions.

In part, the reason for this is experience: it is the only navigation system necessary, and William Aleixo possesses it. A resident of greater Lisbon, in a city north of the River Tejo called Queluz, Dj WilliCox has been sharing music for two years now. Once a member of the Mãn Juh Produções crew, he has become synonymous with the efforts of another Queluz outfit, L.S Produções, as of late. And we have still to arrive at what makes Willicox most interesting. Truth be told, the man's focus is as fluid as his allegiances. Willicox is not a slave to genres. A dance music jack of all trades, he is just as likely to record a kuduro as he is a zouk. Which is not to say Willicox is devoid of a signature. Aside from preferring faster-paced songs, Willicox continually fuses the electronic sounds of Portugal with the flavors, writ large, of the moment. It may take the shape of cross-over sounds or putting traditional instruments to modern use but it is always worth listening to.

With the foundation now established, the beat for "Uma Coiisa Diferente" is usurped by drums. Attentive ears can eke out a kuduro beat. A vocal sample - one syllable - is used for syncopation. At this point, the song begins to more closely resemble a CDM track; the influence is more evident than what the finished structure is meant to be. As promised, though, Willicox will shock and awe. While the use of a melodica is not particularly novel, the Middle Easter-tinge in the phrasing, beginning at the :30 mark, is. As the drums once again return, the surprises do not end. Soon, the unexpected sound of percussion chimes play a role in the harmony. In the end, the only thing standard is the number of resources put to use: seven. Willicox is able pushes the style forward - putting familiar tools to new use and introducing new sounds all the while - without sacrificing dancefloor soundtrack purpose. Worth the download and repeated listens.

- John Noggle

DJ set I can't ado much about - DJ Wayne [Txiga Pro] "Mix AfrO 2014"

The songs commonly found on these pages are fun to hear individually. A keen reader might now ask: What's the catch? To which I answer: At no point during composition was ease the intention - assumption being the author's source. At any rate, save for, perhaps, a Bill Murray themed dance party, it is hard to imagine a single record looped endlessly for any festivity's duration. In this scenario purpose and intention are sacrificed to the golden calf of convenience. Sure, as stand-alone works, these tunes are fun to dissect - every detail captured, each change memorized charges to which I plead guilty - but they only work as intended when fitted into a larger work.

A DJ set is not unlike a collage - or perhaps more accurately, an essay. Listeners, dancers, and two-bit hacks (who think themselves 'critics' named John) are able to experience the thought process of the dancefloor engineer. Any algorithm can create an endless playlist of loosely related material. Pushing aside the geniuses and all-encompassing box radios of the computer world, however, allows for a human element to take hold. The result is more than a simple shuffling of chart toppers. A proper DJ - different from a beatmaker or producer - always keep the present in context. It is not only about tunes that appease to personal preference or anthems anyone can belt out to the chorus to, rather the key is finding  a compromise and adapting it to the situation at hand; unless of course the 'mixer' has enough cache that folks are drawn to the music purely from name recognition. But just like no essay identical to another, not all DJ sets serve the same purpose. The approach of forlorn French water-lillies becomes useful. Take a step back and question intent. Is the mix live or pre-arranged? Is it meant to be actively educational or passively played in the background? Is it directed at headphone listening or a group enjoyment. And once the intention is deciphered, the truly nerdy are exposed to individual sources of material, the newest (or oldest) music, and best of all leads to new fountains of sound.

Needless prose aside...

...following a release last week that remixed an African dance song from the recent past, Txiga Pro's mystery man, DJ Wayne, has one more gift to share. "Mix AfrO 2014" is self-explanatory: fifteen (downloadable!) minutes of dance songs with an African feel or origin. The selections are largely mid-tempo kuduro and house, although a surprising amount of non-typical bass is heard. As always, rhythm is central but plenty of vocal accompaniment, keeping the energy level high, can be heard throughout. Where melody is concerned, the selections focus primarily on traditional sounds more than Western electronic music aesthetics. A very enjoyable curation job with the only criticism being the fading out of songs just as they begin stake a claim to the imagination of the listener. But truth be told, it is hardly a reason not to listen.

- John Noggle