Puto Nuno [Txiga Pro] - "Tarraxo de Madrugada"

Living as a journeyman is difficult.

Constant movement is a hassle. Furthermore, the lifestyle itself comes with a set challenge only fellow journeymen can comprehend.

After all, it was the English poet John Keats who wrote, “The stars look very cold about the sky, / And I have many miles on foot to fare.” Oh sports, if we must with verse dwell it would presumably not be courtesy of any British romantic. Tennyson did cover his spread on the light brigade gamble, but this is more of an exception than the norm. Which is to say that this author is not implying that Keats foretold athletic free-agency. It goes without saying that the line above is not in reference to the any fixed odds. The odd utility player traveling from city to city - one mediocre club to another, collecting paychecks and souvenirs along the way - has never been subject to a sonnett. The point, however, is aptly made. For all their beauty, the distant stars make really awful travel companions. 

To his benefit, though, Puto Nuno is not an average journeyman. Instead, think of Nuno as Cyclone Taylor with better (presumably) hair. Far from a hockey player, and even further from the indoor ice-based wonders of Vancouver, Puto Nuno nonetheless excels in his field, regardless of his location. As a contributing member to Produções do Txiga, his songs are both fast and slow. Releases may come with a single credit or as part of a duo. But whether Nuno is making tracks for Avessos Recordz (AvP) or otherwise, listeners can anticipate a rewarding experience. Yet deep is not an accurate adjective to descrie Nuno's style. The songs credited to Nuno evade obvious trademarks. Vocals samples assist dialectically. But Nuno does has a preference for technical experimentations. And some consistency, too, can be heard in the unorthodox melodic element from time to time. Still, other than some notoriously sluggish bass, Nuno lacks a [literal] sound to call his own. Intrinsic to Nuno, though, is how directly he communicates with the audience. These songs are not deep because the producer does not leave anything hidden.

What follows is a tarraxo - if for no other reason than the genre mentioned in the title. Beyond it name, though, the slow "Tarraxo de Madrugada" could pass off as a kwaito beat or "bacardi house" track. The foundational beat is played by a kick-snare-hi hat combination; some distant claps and ultimately djembe, but excess is largely avoided. The rhythm trudges forward with guerrilla ferocity. And still, despite a long intro - nearly twenty seconds relative to the sixty second duration - Nuno is immediately captivating. During the three false starts, the producer uses a transitional cue, though more recently innovated by Mix Bwe and LycoOx, to great effect. As is only appropriate for such a short creation, "Tarraxo de Madrugada" borrows a similar, alternative structure Puto Anderson utilized no too long ago. Most surprising is the lack of of bass, but not even this offense is not egregious enough to say anything negative. Very good effort.

- John Noggle

Dj Mix BwÉ [AvP] x Dj LyCOox [TMP] - "WAAAAAAAWE"

Advertisement is the bane of modern existence.

Truth is admittedly not an entitlement; no. Truth is much more of a privilege. Honesty is a policy best reserved for intimate of scenarios, like an attorney's office...or watching the evening news qualifies; instances of great importance, really. But when it comes to corporations as houseguests, anything goes. Commercials seem to be exempt from expectations of veracity.

Case in point : never in recorded history has a white owl smoked a cigar. But are these avaricious aviaries content? Hardly. Instead, the face of fowl diabetes is busy conducting a pertinent investigation with the tip of his tongue!

The intrusive arrogance of media ad-space above the flesh and in the feathers.

Fortunately, blunt wraps are still relevant to the writing of this post; even after considering Dutch Masters' status as a deceitful company. After all, Rembrandt got his rocks off with mirrors, not tobacco. Yet Ernie Kovacs did enjoy a good cigar in his day. Can we not agree Kovacs was a master in his own right? Such is the presumed ambition of Dj Mix BwÉ and LycOox; to be masters, not smoking spokesmen. In their efforts to this end, each has recently maintained a steady solo output, including the song below. Perhaps analyzing its tag is wrong, Regardless, to append  "#Masters" to a track only invites judgement against this very standard.

The song below is not first time LyCoOx and Mix BwÉ join forces. These meetings of the minds often feature percussive excess; and moreover these tracks are worth repeat spins. What follows, though, is no ordinary track. This much becomes clear mere seconds into the song. "WAAAAAAAWE," is different. Consider the vocal samples: the duo quaintly places this human element in the harmony as opposed to utilizing it for percussive purposes, as is the norm. This song, whoever, is more than five seconds long. Between the intro and outro is the song's body: A-B-A-C. Although a tom is is distantly heard, the first two beats revolve around the hi-hat. During the 'B' section - a LycOox creation - the rhythm becomes increasingly disjointed amidst the sound of shakers. The bass, as it were, seems to play behind the rhythm as opposed to with it; and still it sounds right. Where showstoppers are concerned, though, look to 'C'. Listeners may be anticipating the track's end. Instead, "WAAAAAAAWE," evolves further. The pair uses this drum effect as more than a cue once more, successfully turning it into an element of its own

It is within reason to say "WAAAAAAAWE," exhibits elements of avant-garde. But is it worthy of being tagged "#Masters." Well, in order to break the rules, one must be very well acquainted with them

- John Noggle

Puto Anderson [Txiga Pro] - Four Songs

Where cliches are concerned, sequels are rarely, if ever, better than originals.

Fortunately, what follows is not the phantom menace, per se. Think of it more as a springtime for Hitler curtain call; unexpected and, for the most part, a lovely surprise.

Following the embarrassing revelation of a certain author's lack of attention vis-a-vis TMP beatmaker LycoOx, some modest reflection was called to order. It turns out the incident did not occur in isolated. Dear readers: errors have been made. Worst of all, neither "bitch settin' up" nor "drunken stupors" stand to blame. Luckily, where past wrongs have been committed a chance for redemption still exists.

Has B-Side A-Hole tried having a love affair with Firma do Txiga? Yes. But is it an addict? Certainly a good question; and one that lacks a decisive answer at this time. Consider an autumnal creative push in which a Txiga track...or two...or three - or, honestly, a figure closer to a dozen -  were missed. Surely, this is far from the behavior befitting of a writer in lust. Especially because the most active among these Djs has been the crew's leader, Puto Anderson. In the past five weeks, "Anderson Walker, Texeira Ranger'" has released a total 10 tracks. Among these works are two remixes, a number of 'brevemente' tracks, collaborations, and solo beats that have been equally as diverse. What can be found below are four outstanding selections dating back to September 20th.

After brief a respite and some batuco experimentation, Texeira Ranger returned to the scene just over a month ago. Where making impact is concerned, absolutely no time was wasted. Anderson made his presence known a roundhouse kick in the form the tarraxo titled "DominGo de Paz." In terms of innovation, the song is rather tame; apart from an indefinable melodic element that sounds almost flute like. The beat is driven largely by a kick-snare-hi hat combination that creates two distinct patterns. What "DomiGo de Paz" succeeds in, however, is refinement. Once the head is established the track grows effortlessly with a total of three syncopated vocal samples and three additional percussive elements

The next song of note comes a month later; two weeks removed from the time of this writing. A batuc titled "Modo Safado," the similarities with "DominGo de Paz," begin and end with their equally slow tempos. Yes, the Texeira template is followed - ten second intro, very brief outro, and drum patterns - but "Modo Safado" has an identity all its own; beyond even the brief use of accordion. Drum wise, the song is reminiscent of Black$ea Não Maya's "Voçê é feia." Not only does Puto incorporate a floor tom into the foundational beat, but the snare which appears later ends its phrase with some rolling flare. The coup de grace, however, remains the dual bass. While a "wet" almost NorCal/hyphy sounding element carries the melody - as a some higher pitched synth harmonizes - a six part base trudges between the percussion.


Three days later: a return to tarraxinha. As with "Modo Safado," progression can clearly be heard throughout. The innovation on "TarraGuetto," though, begins with structure. Bypassing the usual format, this FT Produções release more closely resembles Casa da Mãe that its own back-catalog. The redundancy of an intro followed by a head is discarded. Instead, the song proper begins immediately. Where other CDM similarities are concerned, similar "global" synths are retained from "Modo Safado." The harmony is bouncily held down while the melody is usurped by some more straightforward keys. Moreover, throughout its two-minute duration, "TarraGuetto" draws more and more sounds into its ranks. A hi-hat/kick combination provides the underlying rhythm, just as it source for two different beats. Digital drums, however, are also incorporated. Vocals are a central point here as well, but to its credit the voices on "TarraGuetto" are call and response. Astonishingly, the song does not sound nearly as bloated as this description makes it out to be.

At long last is "Rapicada." Three days after "TarraGuetto" hit the web, Teixeira returns to the Puto Anderson standards of operation. But perhaps this is an over simplification. After all, "Rapicada," resembles a pop song in form more so than a Txiga track. Alas, none of this matters. Consider the reason: first, "Rapicada" is an astonishing song. Second, what can be heard below is a funaná; the first release featuring this particular Cabo Verdean genre within FT's oeuvre. The basis for "Rapicada" is an affectionately addicting two bar accordion sample. Beat-wise, sections differ on whether or not a scraper is heard. Yet, if any portion of "Rapicada" can be deemed to be a showstopper it most certainly would have to be the silken bass. Nothing short of required listening.

- John Noggle

DJ Set I can't ado much about - Dj Wilson & Dj Mika "Rapicada So Pa Baxu"

Read this is not a show of support.

If anything, the overall tone should be perceived as begrudging acceptance.

The image in question is dated and overused; opinions be damned. By no means does the author oppose staying calm. If nothing else, dear reader, carry on doing. But continual, hacky exhibition of a crown above serif types - the most British of fonts - must stop. Panic and sprint! Worry and jog! This is not the sign you are looking for. Plus, "It's always time for a Duff" anyway.

Plenty more signs gives much better advice

With roots dating back to the Second World War, 'Keeping On' is as anachronistic a source of British self-esteem as the royal family, shepherd's pie,  and over-valuation of pound sterling. If nothing else, to 'Keep on' is a testament, a symbol, of capitalist flexibility. Maybe even more so than guerrilla style Italian photographs.

Derivation is a 21st century lifestyle. Appropriately, then, "Rapicada So Pa Baxu" - a collaborative, seven minute funaná mix - does not use original artwork. Look no further than a year ago when Akwaaba and the mighty DJ Marfox released the exemplary and appropriately titled, "Keep Calm and Listen to Tarraxinha."

None of which is meant to take away from the efforts of Dj Wilson & Dj Mika. What can be found below is a four song sampler with fade-in/fade-out transitions. A single subject matter is explored: traditional Cabo Verdean music. Alongside plenty of accordion, one song of the electronic variety can be heard. Regardless, the music so fast that no less than six syllables are required to describe its speed. That word? Indefatigable.

The verdict: quite a pleasant experience

- John Noggle

LyCOox [TMP] - Three Songs

These pages have not been kind to LycOox as of late.

The last time Tia Maria's jack-of-all -trades was featured here, the date was August 8th. Baseball season was in the midst of its dog days. Ebola had hardly breached the borders of the Great Republic of Texas. August 8 was so long ago, that Obama had not yet declared a speech against ISIS.

If one were to search, however, for the last time LyCoOx was featured here as a solo artist, results would come up...thin. Since approximately never has a LycOox original received a write-up; and not because it had not been merited. At one point a LycOox remix did sneak its way into the "Puxa Puxa Larama" post. But hardly should a 0:38 teaser excuse this transgression.

If for no other reason, the author's conscience weighs particularly heavy today. Not only is LyCoOx a particularly prolific beatmaker, he also happens to be rather formidable at it; DJ Descartes produces therefore he is. Worst of all, some fun may have been had at LycOox's expense. The nickname "Dance Mamba" may have recently coined. In another notable instance, the TMP producer was likened to a certain Fresh Prince character. Indeed, a LycoOx retrospective is in order. In the mean time, though, enjoy a sampling. Below are three of the better tracks LycOox has released in the past ten days; or 33% of the relevant corpus.

For the sake of objectivity, the author did leave a comment for the track below reading, "ótimo <3." Released nine days ago, "Sobrinho Da Maria" is a short (1:20), fast-tempo, heavy kuduro. Oddly enough, the track opens up with a guitar and what sounds like an mbira variant. Neither instrument is unexpected; their use, though, is not frequent. A paltry track overall - rhythm confined to a kick/snare in addition to one peripheral piece of percussion and the odd cymbal used transition - it is nonetheless imaginative. Particularly imaginative is the use of  piano to play rather than, well, actual bass. Attentive listeners will also hear a drum fill normally used as a cue instead become an element all  its own; not to mention the drum fill on 1/8 (1/16?) notes near the end. Also of note, good harmony between guitar and synth. A good dance-floor track from the second most popular song featured.



Three days later, a much better song surfaced. Inexplicably "Ngulo & Cachiko" - an album-length batuco with two beat - sports half the plays that "Sobrinho da Maria" has towards its credit. For the duration of the track, an ambient synth assuredly adds texture to a dynamic song. In addition to exemplary hi-hat work, the song's is made of up a drumkit and traditional drums alike. The main attraction, however, does not appear until the second section, right after a brief interlude. As the cymbal takes a more kuduro like appearance, alongside a new, consistent drum, LycOox's flute plays its role. Only one criticism is merited: the nearly minute long outro. Much to its favor, though, the beat is quite good.



Finally, readers will find the most popular song of the bunch below. Released just this past Monday, "Tia Maria É A Vida," is accurately titled and merits any attention sent its way. Whereas "Sobrinho da Maria" and "Ngulo & Cachiko" can be characterized as minimal by all metrics, "Tia Maria É A Vida," is lavish and extravagant. Formulaically, the intro lasts fourteen seconds (go ahead, check the previous two songs) Ater pleasantries are exchanged, though, all bets are off. Built around a head, 'A', the song is structured as such: Intro-A-B-A-C-bridge-A-outro. Virtually nothing can be written about this song that the good DJ does not express with a sigh of relief at 0:55. The disparate piano as bass movement - heard on "Sobrinho da Maria" - effectively continues on "Tia Maria É A Vida;" that is until an actual bass makes a grand presence during the bridge, proving the song to be more than just looping parts. Poetic waxing about the synth harmony and xylophone melody are certainly merited. But playing the song on repeat will do it much more justice.

- John Noggle

IPityMakonnen

A security guard plays a noteworthy role in my first concert experience.

The event ultimately has no effect over the evening as a whole. To be honest, the incident is meaningless beyond that initial moment of impact.

For the most, it can be said that this memory is irrelevant to the words that follow.

Still, the fact of the matter is this: if a man wants to sit on a table, it should be within his right to do so. Sure, the round, off white, concrete picnic table had (and I am sure still has) matching crescent shaped benches below. But in a three person party, sitting on the table worked better and beat the alternative of staying in a warm concert hall, saving generic general admission spots between opening acts. To my detriment, I was being asked to remove my shoes before entering. This should have been a rotund, ‘Security’ t-shirt wearing Sword of Damocles.

Venue staff was bound to be dickish.

And until recently I maintained this as a non-negotiable part of my worldview; even after briefly becoming acquainted with a security guard in a different town. It has now inexorably been altered.

~.~

Defense of ILoveMakonnen’s music is best left to other, more qualified, writers.

Not enough of the music has been heard for this author to craft of an opinion of significant weight. Naturally, though, the author is also more than willing to contribute his two cents to this water drinking fund.

A description, too, is well within the merits of fair play.

ILoveMakonnen’s songs have a certain runway fabulous quality to them. Any snobbery is not purposely implied. Rather, the fetishist manner in which millennial audiences consume music is recognized. Files galore reflect lifestyle choices and support self-identity. For ILoveMakonnen, this equates to executing his well-honed, coquettish charm. Sounds are crafted as stylishly as possible. The result is a Factory-like, canned, high art quality.

Still, as aesthetically pleasing as these sounds are, those same qualities predispose the author to passive listening. My friend Makonnen can only teach me how to whip it so many times before adding nauseum.

Perhaps saying the author is not completely sold on the man’s music is more accurate. But remember, this is not about the music. For what it is worth, it does not even matter that the impetus is ILoveMakonnen.

~.~

Whether it is a local musician or a beloved favorite national act, attending any concert is equivalent to be party in an implicit contract: in exchange for money, entertainment, and everything it entails, will be provided. Free speech for performers, as well as vocal audiences members, should maintain a pristine status. Not all expression is timely or appropriate. The ability to recognize that possibility is part of the human experience. Possessing the cognizance not to act like a complete moron is only expected.

Regardless, this maxim is not universally accepted.

The video will not be embedded out of principle; but a link has been provided and a brief description follows. A total fool reaches out to the onstage entertainment - as fans are ought to do, if but to smell the sweet scent of fame for a moment - and proceeds to punch him in the face. Afterward this wayward soul runs out of the venue. Not a single person stops him

Against populist belief, security is apparently necessary

~.~

This is not intended as a screed against any content providers. More ways to spread messages ultimately means more messages to spread (or more people spreading the same message, whatever). Video, audio, and text hosting sites are a platform; it is the people contributing to them who have to power to police content.

Plus, spending any amount of time recording a live performance is wrong. But to each their own; as with internet video appreciation choices.

In sports it is a tired cliche: the fan experience ends where the field starts. Beyond the physical barrier at the foot of first row seats, a work environment unfolds. For what it is worth, though, streaking does come with inherent joy. Nothing matches the exuberance of exploiting live television. Regardless of how unscripted and inappropriate, some individuals take it upon themselves to break with decorum. The crime is victimless and generally amusing crime (unlike beating down a first-base coach for no reason at all).

This same basic principle applies to live music performance; or any other job, to be fair (and probably minus the streaking).

A clause in the aforementioned contract does state that the fourth wall can be broken. This right, though, is exclusive to the realm of a performer. Unless the premise is flouted, and the audience is suddenly part of the show like a Keith Moon fantasy. Concert goers’ responsibility is to be entertained; nothing more, nothing less. Try not to get too drunk, and if any humping happens make sure it is always consensual.

Sure, crazy things tend to happen in life. I once accidentally elbowed female acquaintance in the face while skanking at an Aquabats show. Another time I got stuck catching twelve year olds who thought stagediving was an amusement park ride at a DRI concert.

Punching a performer in the face is obviously different. Having someone record makes it fairly evident the act was not impulsive. Somewhere, at sometime, planning must have occurred. Assumption aside, the idea was, is, and continues to be idiotic. Overlooked, too, is the fact that someone was assaulted while busy at work.

If nothing else, security provides some insurance for the promoter and venue’s reputation.

~.~

The biggest take-away comes after the colon: punching somebody in the face is easy.

I could literally go out tonight, purchase a ticket to a live performance, and punch somebody in the face. To reach a stature in the entertainment industry where people pay to witness your presence, though, is very difficult.

Contrary to popular belief, being famous does not come first. Recognizability is a result of excellence. Get good at film, plastic arts, or music and a following develops. Brand awareness is necessary to moving units and progressing careers (different, of course, from moving the craft, or product, forward). Additionally challenging is the balancing act of combining personal expression with mass appeal. For this reason, nobody is lining up to see some nobody cold-clock a known face unsolicited unless there is a team involved with the word money in it.

People will line up around the corner to see a novel entertainer.

Self-insertion into any performance is only of note because the victim has public profile. The crime is not more or less egregious when fame was eliminated. Still, a very real exists difference between an Sacha Baron Cohen interviews and boxing Lil B in a coffee shop (who coincidentally just rapping “Everybody can’t do it but everybody tryin’ t’do it”).

Satire removes the mask of a facade. Hitting someone for no reason just removes the mask covering up an asshole’s face.

~.~

Pranks of the above nature are thirst, pure and simple. Other than basic morality, the main reason why I do not punch people I pay money to see is the same reason I do not pretend I am their friend: we do not know each other. Both parties are complete strangers; neither person is superior. Like walking around town, some people you know and some people you do not know. But by and large, strangers are left alone.

At best I can hope not to come off as a groupie. With any luck, perhaps I can spend a few mundane minutes interacting with an entertainer. Previously on a pedestal ,making sounds that cause me joy, ideally I can share in a bit of life with musician-x on a person to person basis; real human shit. Artists, after all, are people, not veal served on golden flakes.

But musicians are also service providers. The audience is a mass of anonymous customers.

Rarely do I even attempt writing on the subject of hip-hop; my reasons are plenty and varied. The following quote, though, bears repeating. It was Iceberg Slim that once wrote, “The pimp game is like the watchmaker’s art, it’s tough”

If accolades are desired, learning, mastering, and excelling at a craft is detrimental to this end. Otherwise, please behave. A man should be able to sit on any table without being told not to by security.

- John Noggle

Dj Mix BwÉ [AvP] - "Black Motion"

Halloween is fast approaching. Which is to say that a Noggle Service Announcement - the superior NSA - is in order. Wise readers take note: keep stock of your personal fears (an exercise equal one parts psychological, one part practical). Simple recollection can work wonders this time of year. As the end of October nears, be forewarned: friends and family will eventually remember someone in their network becomes paralyzed at the idea of a body singing electric; or dandelion wine, either way.

But in this author's opinion, one unnatural creature is scarier than all others. Nothing in or on this planet is more petrifying than the face of deceased television presenter Rod Serling. Never mind his presence - Is he behind the bookshelf? Perhaps the fridge? When did you last check under your bed? - true horror rests behind the cigarette haze. Serling's mug is bad enough to crash land helicopters at a moment's notice. When the smoke clears and the area north of the host's neck, combined with that south of his scalp, becomes visible all comfort dissipates. A librarian is now public enemy number one. Slim Shady can sit down; if only a real martian would rise to the occasion. Worst of all, William Shatner might stop being a spaceship captain just in the nick of time.

If it were not for the music, Mix BwÉ too would make a serviceable Twilight Zone character. Residing just north of Lisbon, in a place called Odivelas, Mix BwÉ is but one member of Avessos Recordz (AvP). What one might call a leader, Mix BwÉ loosely unites L.S Produções members Dj Willicox and Kiid, as well as independent beat-makers PiQueno Dj, Ericox, Maximiano, and maybe Txiga Pro's Puto Nuno under the AvP banner. Beyond that, not much can be said. Both the label and its head resist classification. The name itself consists of a number of Asian characters reminiscent of Txiga's oriental excursions. Otherwise, AvP is much like any other imprint. It is a frequent collaborator with Tia Maria, especially LycOox (a.k.a. Dance Mamba); nothing special seeing as Luso-Carlton does like the anti-fresh Prince of Bel-Air, if you have a track, he will jump on it. Most intriguing, though, is the one example of AvP on these pages. Mix BwÉ made a zouk remix. The track is no longer available.

Luckily, "Black Motion" is still available; a track which spares no effort in living up to its associated tag "#jembe". Far from being the rhythmic element used - five pieces of percussion ultimately make an appearance - djembe the most prominent. What sets "Black Motion" apart, though, is the extent to which Mix BwÉ relies on this drum. In prior releases, djembe has been used merely as an auxiliary resource. Secondary to digital drums or overshadowed by melody, when used as a supporting force the role of the djembe is to provide an African theme. On "Black Motion," though djembe is the  main attraction. Cymbals are used only in transition. For their part, digital drums do provide a kuduro beat; ultimately, though, it is just one piece in polyrhythmic collection that verges on ewe. A synth is used too. Providing ambient accompaniment, on "Black Motion" synthesizer provides irreplaceable. Otherwise, this track's greatest success comes from being composed almost entirely fromt below is nothing more than bass, two vocals samples, and a slew of percussion. A serviceable number from a promising source.

- John Noggle

Puto Marcio [TMP] - "Para É Morrer"

Attention is a terrible thing to waste.

Despite the acclaimed status that Tia Maria Produções holds over these pages, not all of its have artists have been treated equally by the author at hand. Four Djs compose TMP. Alas, Puto Marcio has decidedly been celebrated least. Not one post has been dedicated to Marcio's work. Well, perhaps there is a single post to his credit. Does it matter the song in question is of unknown origin? Feel free to decide, readers. At any rate, this coincidence is not meant to be a slight. The absence of content is not meant to indict Marcio's work; he is producer just as capable as his peers.

Fortunately, the past two weeks have witnessed an influx of new TMP beats; a phenomenon which Puto Marcio has played a role in. What can be read  below is just as much a defensive effort as it is a proactive strategy. Before Puto Marcio becomes Iberian Alfred Wallace - left behind by history despite notable contributions - to TMP's Darwin trailblazing, his work work should at least be addressed.

Now seems to be to be a good a time as any.

Released a week ago, "Para É Morrer" is Marcio's first release since August. In collaborating with PowerMBeatz over the summer, afro-house/kuduro song titled "Botemcó," surfaced. Its fast tempo is preserved, but the entry below is noticeably different. Listeners will hear a batuco rhythm in the form of a brief album track; three section that loop after a minute. Unexpected, yes, but the identity of "Parar É Morrer" is not entirely surprising either. Consider that Marcio does frequently alternate beats. Rather than standardize and create one type of track, this TMP beatmaker prefers inputting his style into different song varieties.

For this very reason, though, "Para É Morrer" is not immediately out of the ordinary. The bass is standard batuco fare; an emphasis being placed on odd beats. For Marcio a staple, though, look no further than the synthesizer. Hardly is the high pitched, emotive synth used to create texture. But while the sound is reminiscent of Spoko tracks, it is much too short and regimented to be considered a valid comparison. Rhythmically, however, this track is exceptional; and not merely because of the sudden appearance of a jackhamer. Vocal samples are not often heard on Marcio tracks but adaptation is in order. As a result the Dj uses two samples; one high pitched, the other quite low. Where multiple rhythms are concerned, the he additional percussion and scraper are heard alongside the kick/snare which serve as the beat's foundation. 

All around an enjoyable number. 

- John Noggle

Dj b.bOy [TMP] - "Italiana"

The gall this woman must have. Her intentions are not even masked. Her end goal is obvious to any observer. Yet it not so much the request for a slow dance that merits outrage, but rather he person leading. A complete stranger has been solicited, and in front of her husband to boot!

Such is the penultimate scene of Ermanno Olmi's debut. After following a journey toward office-bound paradise, main character and audience alike engage in well needed exercise. By means of voyeurism, eye muscles are trained. Apparently everyone in this sprawling bureaucracy has been suppressing joy. The band - vaudeville entertainers really - carry the Christmas party. Meanwhile, folks show their real-world selves; if not for a brief moment of respite.

Infidelity merely provides much more of a kick than champagne proper.

What follows is not neo-realism. But much like Olmi, Dj b.bOy has made a Southern European female his subject. As it turns out this Tia Maria Produções member is hardly finished with romance. Following the release of "Lips," b.bOy wasted no time in releasing another track. And much like its predecessor, "Italiana" is both emotive and surprising.

The ninety second "Italiana" is fairly obvious on the surface. b.bOy has not ventured too far from his roots. Like "Lips," the song below is a tarraxo and features a dark, funky bass. The 2-bars on "Italiana," though, hardly demand equal attention. This is a rhythm section that meets the necessary criteria and nothing else; the definition of minimalist. Vocal samples and the snare drum are common in b.bOy songs, just not in this fashion. Syncopation is found from an organic source - just subtly. Likewise, auxiliary percussion (see: cymbals) are used - but only in transition. The reason being that melody is predominant. Three synths are used in tandem - a strategy used once, or maybe twice before - to bolstering their profile beyond window dressing into WEDIDIT territory (even if it was CDM that started an LA Party first). The longer phrasing allows the melody to carry the track's identity in all but ten seconds reserve for a brief intro and outro.

Though not seminal, it is certainly imaginative and pleasant sounding. Worthy of playing at high volumes

- John Noggle

Western Tink - "My Soul" [Prod. by Keyboard Kid]

A based internet-rap veteran, Western Tink boasts a respectable history. His legacy is marked primarily by many a collaboration with Beautiful Lou. So it can be said the Atlanta based rapper is far from being a newcomer. But still, Tink lives in a hazy gray area; cyberspace limbo, if you will.  Tink is hardly confined by geographic labels; his flow knows no borders. The honorary Green Ova member virtually combines the best 'druggy sounds' from Atlanta, Houston, and the Bay. Yet summoning the phrase 'cloud-rap relic' seems excessive.

After all Western Tink has never really changed. He uses music as a soap box; beats are merely a pulpit. But what follows is not the sound of gospel. Mobibn' no sobbin' is more like a set of guidelines or advice. No one claims these teachings  - save for perhaps their originator -  to be absolute. A goal is introduced, a means of achieving it is presented, and the choice to diligently follow through is just as veritable as criticism. Not an easy decision to makes. Luckily, the sounds helps in pleasantly passing the time.

A previously unreleased loosie, Tink publicly shared "My Soul" just three days ago. The song boasts production from Seattle's Keyboard Kid. Drum samples vary from the obviously digital to the refreshingly analogue. Regardless, the beat is strong throughout. Of greater note, though, is the female vocals. Not unlike doo-wop singing is featured on the run, in the process giving the track a spiritual edge amidst lines like, "Sometimes I wonder 'Is my soul worth more than money' / Then I remember that my rents due Monday." While the Verse-Chorus structure is nothing out of the ordinary, religious parallels persist. Rather than provide a hook, Tink opts for typically independent variant of the bedtime prayer "Now I lay me down to sleep / I pray the Lord my soul to keep," in the face of uncontrollable forces. A consistent, quality effort overall showing, more than anything, that Tink is still improving his writing.

- John Noggle

Dj b.bOy [TMP] - Lips

Principe Discos released "Tá Tipo Já Não Vamos Morrer" this past August. Since then Tia Maria Produções has been relatively quiet. LyCoOx, a.k.a. Dance Mamba, is the exception. The perpetually active LycOox might as well wear a 24 jersey because he seldom misses an opportunity to polish his skills on the playground. But rather than jump over any moving cars LycOox chooses instead to jump on somebody's, anybody's, track. The result is an extensive portfolio: diverse and free of gaps, to boot!

The rest TMP, though, has been quiet. It seems that by and large, the crew has been enjoyed the benefits of increased exposure. As a result, the rest TMP - Puto Marcio, DJ Télio, and Dj b.boy - continues to rack of the play count on its back catalog, expanding their fan-base in the process..

But the wise artist flexes a strong quality control muscle. An artist drunk on pride, though, is dissuaded from this premise by even stronger delusions. Yet the simple act of restraint - to resist clearing out the archives wholesale - makes any canon pleasant to revisit, as opposed to repetitive and mundane. Such is the case of Dj b.boy; last heard from two months ago with a tarraxo, followed by a change of pace (by his standards) kuduro remix three days later.

This latest release sees b.boy return to slower, familiar territory. On the surface, "Lips" is a tarraxinha track; the one-two, one-two-three-four beat is inescapable. Unfortunately genre classification is irrelevant right now. More than anything, this song shows the beatmaker moving forward. The structure for "Lips" may just be two interchanging sections; just as well as the transitions between them give off an air of predictability. More important, though, is the content of "Lips" itself. Rather than merely elevate the song's profile, "Lips" sees bboy use bass to the groove's advantage. Likewise, as was the case on "Ta Bonito," the beat is diverse. "Lips" is composed of two unique drum tracks: one for each section. Neither pattern relies solely on bboy's standard kick/snare combination. Vocal syncopation too appears to reside in the past. Djembe slaps, digital claps, and cymbals lead the charge of softer more extensive synth melodies almost reminiscent of EstraGaa.

- John Noggle

DJ NinOo [Txiga Pro] - "Ninguem É Perfeito" & "Nem Sei O Que Dizer"

Our story begins three weeks ago with "Soundwave." What follows, though, is hardly an Australian tale. While Soundwave is indeed the name of an event down under, the following proposition does not concern those responsible for gifting humanity the Melbourne manner of shuffling. Likewise, if any block parties ensue, they are hardly the result of innovative desert landscaping.

The "Soundwave" in question is far less momentous. Having been released three and a half weeks ago, "Soundwave" is prone to be overlooked. The beat clocks just past the paltry 1:00 mark. The song is a mid-tempo kuduro/afro-house track; a product of Firma do Txiga/Txiga Produções member Dj NinOo. Last heard on a collaborative remix with Txiga co-conspirator DJ Wayne, the young NinOo is no stranger to afro-house. Still, "Soundwave" sounds unique. The lack of vocals - a NinOo staple irrespective of genre - is an obvious difference, but hardly the sole reason "Soundwave" stands apart. Listeners must go beyond the underlying kuduro snare and hi-hat, past the drums fills, towards the guitar. Rather than use synths, a rich harmony begins with acoustic guitar and ends with a handful of electric notes. The result, though not Italian, is sufficient spaghetti-kuduro to merit the Morricone stamp of approval.

Leone king aside, the previous track provides a foundation for NinOo. The two songs released a week later are follow in the vein of "Soundwave"

As with its predecessor, "Ninguem É Perfeito" is not immediately impressive. The song is structurally straightforward. Made up of one section, played twice around an interlude, forty cumulative seconds of intro and outro bookend "Ninguem É Perfeito". This is a track, though, which brandishes unparalleled style. NinOo is prone to working with various types of sounds; look no further than this mini-collection with Puto Anderson. But the song below is a mash-up of sorts. NinOo incorporates disparate elements into his beat: afro-house bass, kuduro rhythm, and miscellaneous funan percussion. But it is that final element - the Cape Verdean link - that makes the track so intriguing. Although not admittedly not verified by the author, the sample used bears commonalities with the sounds of Bulimundo and Black Power (both the band and the label); more so than Luanda. A refreshing, authentic track formidable for both dance-floor and living-room enjoyment.



But while "Ninguem É Perfeito" is a valuable asset, "Nem Sei O Que Dizer" is the crown jewel. Comparable to the previous track in length, "Nem Sei O Que Dizer" varies in structure (A-B-C-A-B). Furthermore, "Nem Sei O Que Dizer" has the added benefit of coming last: it can incorporate the best elements of the previous two tracks into its own concept. But the song is hardly derivative, instead showcasing a flare all its own. Rather than remain affixed to a four to the floor bass, the song meets groove expectations and astronomically surpass them. Once again, a snare based kuduro beat is heard; alongside of which are two pieces of percussion filling in the blank spaces. The purpose behind this action, though, is evident. A sense of polyrhythm is given without drowning out the four descending bass notes. Finally, "Nem Sei O Que Dizer" also takes the liberty of sampling what is (assumedly by the author) Cape Verdean funana guitar circa 1980. As with every other element of the song, though, the island nation's influence is taken a step further as a trace of a batuco rhythm is heard between the B & C sections.

Don't let the play counts fool you: two very solid selections

- John Noggle

Black$ea Não Maya - "Rapture (Remix)"

The scene is midtown Manahattan. The year is 2001 and a scourge grips New York city as a whole. Danger has arrived - but rather than take on the familiar form of cannibalistic humanoids dwelling underground, this threat is subtle. It would appear that the cause for concern is indistinguishable from terrorized civilians. No hyperbole is intended. Simply put, the untrained eye is apt not to notice the beast at bay.

Oddly enough, iiO is the hero needed as well as the danger feared.

Of course, the reality of fall 2001 was much more dramatic; not to mention devoid of the mental holiday dance parties provide. But as the real world underwent tangible change, music too became susceptible to rising tides.

Janet Jackson, Ja Rule, J.Lo's initial run, and even Shaggy dominated the Hot 100, calling into question whether surviving the Y2K scare was worth it. Meanwhile iiO was dominant in its own right. Markus Moser and Nadia Ali released "Rapture (Taste So Sweet)," a vocal trance seasoned with enough house flavors to taste nearly like disco. As such, the tune - a testament to turn of the century preferences - best heard in a Molli time capsule. But with a range beyond Ibiza, the song peaked at #2 on the club charts; amidst an 8 week residency. So even though Eminem would go on to proclaim, "It's over, nobody listens to techno," a few months later, the track made an impact. In 2010 Avicii  would go on to remix "Rapture." At which point it can be assumed the giant, robot-clone Nadia from iiO's original was defeated by a sexy Brit and the sidekick from this Austin Powers audition.



Despite the available alternatives where 2001 club tracks are concerned - primarily The Chemical Brothers's "It Began In Afrika" -  Black$ea Não Maya shared a remix of "Rapture" last week. What follows is a strict re-creation: a kuduro/batida track crafted around Nadia Ali catchy hook. Contrary to the tracks featured in the "Tourner la page" post, "Rapture (Remix)" does not sound forced. In adjusting to the faster tempo, the singing is tweaked; coincidentally the resulting pitch resolves the originally nasal tone. And amidst the hi-hat and snare heavy Angolan rhythm, Western dance music's influence is not lost. The result is a testament to cross-over. An initial climax is built with organ, and high pitched electro-house synth is heard later. Meanwhile, the original melody is preserved through xylophone and guitar, both reminiscent of EdiCerelac - delightfully imprecise. With brief :15 and :30 sections, the structure is that of a compressed pop song: verse, chorus, bridge, verse, chorus. An all-around formidable effort.

- John Noggle

Dean Blunt - "Trident" & "Trident, Pt.2"

"Do not try to prevent thoughts from arising and do not cling to any that have arisen. Let thoughts appear and disappear as they will, don't struggle with them. You need unremittingly and with all your heart ask yourself 'What is my own Mind?'" - Bassui "To the Abbess of Shinryu-Ji" 

One if by land. Two if by sea. Hence, if three days pass and a threat still looms, spread word by internet. The world shan't be the same on the morning of the fourth. So speaketh the elders - patriarchs who, with their dying breath, imparted this wisdom to protect future generations...one presumes. Yet no redcoat threat per se, is imminent. As such the author is forced to improvise. Alas, what is a Dean Blunt release if not a small scale revolution?

Do exercise caution, though, lest a mental error is made. New Dean Blunt material is dangerous in the same way that it is music: not at all.  Rhythm and melody are heard. Arranging and recording occurs. But is it music? No. Dean Blunt makes art. Look no further than the infuriatingly heady 2012 James Ferraro collaboration; the real Watch the Throne. 

To listen to a jesuschrist3000ADHD composition is not unlike watching Nazi Dick Clark choreograph some dance floor with a carrot. Somewhere neath the cover is a complex inside joke no one quite understands. And like a trio of enlarged, ralphing retinal freaks, Dean Blunt enjoys being an anti-music spoiler. Music is not gospel. Music is not truth. Music is a construct with tuned sounds and it helps facilitate expression. Like a painting, or a baseball card, or taxidermy music a commodity worth as much as the stock invested in it. Dean Blunt makes art in the abstract, commenting from within the medium.

Yet an even more intriguing idea exists within Blunt's mind. The only real context creative creations need is the very moment of inspiration. As such, a Dean Blunt album recorded and released from a Russian hotel room might appear out of the blue. Demos may suddenly become available to stream. More than likely, though, a solid new song will probably be deleted a few hours after having been uploaded.

All in a day's work for Blunt, who still maintains a steady work pace. This year has seen Blunt give a free-jazz show. Work with Joanne Robertson continues. Although it is decidedly not of The Narcissist II caliber, a meandering digital record titled Skin Fade was released as well (first as a single track and more recently as a deluxe edition download with individual tracks). Likewise, there is and can only be only Hype Williams Fact Mix. Fortunately, this appearance with Scratcha DVA on Rinse FM (part Young Thug homage, part censorship screed) survives for posterity. Meanwhile, the Dean Blunt landscape continues to change; such as a departure from Hippos in Tank. So followers wait for Blunt's Rough Trade debut Black Metal, available November 3rd/4th.

But released just about two weeks is, "Trident, Pt. 1," part of the Black Metal promotional push. Although it is being sold as a B-side to the "50 Cent" 12-inch, it was first leaked as a Youtube video on the pollyjacobsen account. Effectively two portions, the first is largely instrumental. For two minutes an acid washed guitar plucks notes above a droning melody. Meanwhile, from a distance, a police scene is observed. The punch occurs when two female bystanders tell the camera they came from the club; a tale of unglorified violence. A second portion begins a quarter of the way past the two-minute mark. Between claps, kick drum, and cymbals a violin's vibrato carries the emotion that monotone half-rapped/half spoken lyrics lacks. But words are only one facet of the larger theme. When delusions are stripped only reality is left.


Musically, "Trident, Pt. 2" is straightforward. Two toms and a snare take rhythm. A bass plays while vocals adlib. The only melody is provided is a guitar; occasional feedback can be heard too. But the song differs from the live free-jazz tracks on Skin Fade and "Trident" in delivery. Rather than rehashing linguistic rap staples - the malleability of symbols being another persistent Blunt focus - what equates to a Wikipedia entry of a gang conflict is read. For the 8 minute track's duration a circle of violence between Tottenham Mandem and Hackney Boys is recapitulated. No detail of luxury German cars is spared. Traditional content is not altered. When the lies are taken away, though, the truth might just be far less glorious. Effortlessly ambitious, as is the norm. "Trident, Pt. 2"  is more statement than music. Nothing new yet elusive to comparison, enjoyable for what it is.

The Dean Blunt story, as it has been recapitulated, is already long and strange. It does, however, continue to write itself. Through the man's actions the world relish in his thoughts. And so perhaps it is a different piece of Bassui's writing which applies to Blunt:

"Make the most of time, it waits for no one"

- John Noggle

N8 No Face - "Twice Wrong"

Arizona's second largest city is Tucson. Even if original inhabitants are largely indifferent, the town was originally named "Chuk Shon." For the most part, though, anyone living in the village of the spring at the foot of the black mountain prefers the town's pet name: Old Pueblo. Still, a minority exists. In betwixt semantics there are some who prefer to employ an unofficial moniker for the half-million man city. "Circus of the Perverse" may incidentally connote negativity, but it is a terribly accurate nonetheless.

And it is from this three-ring circus that N8 No Face and his band of saboteurs originates. Between the university that dominates midtown, new wealth resting safely up north, and overlooked hispanic communities in the west & south exists...the rest. And it is for 'the rest,' that Hit+Run/A1R Records affiliated band Crimekillz makes music. Presently based in Los Angeles, this is a band specializing in outsider sounds. Hardly does the hard rocking, chiptune oriented Crimekillz fit into the tradition of Salvador Duran. Likewise, the blatant punk anger is largely foreign to the alternative aesthetics of Calexico and Lenguas Largas. So if anything, Crimekillz is in the vein of The Pork Torta and Mr. Free and the Satellite Freakout; independent, left-field, and cultish. But truth be told, N8 No Face & Zackey Force Funk do like a Sonoran hotdog and inhabit a realm all their own. Death Grips comparisons are piecemeal simply because the cross-section of punk and hip-hop is  so oft left unexplored.

Fortunately, exploration continues as "Twice Wrong" shows that not all shock is lost. Listeners are quick to note the signature, distorted vocals have not been discarded in preparation for both Crimekillz's CKLA and an upcoming solo EP. But while N8 No Face is no stranger to breaking beyond genre molds and more straightforward singing, it is instrumentation which is most interest. Synthesizer free, "Twice Wrong" features only electric guitar alongside vocal chords which calmy relate the narrator's story of, "Twice Wrong once right attracted to a good girl and good fights." Timely where current events are concerned, the tongue in cheek tone is piercing. Lyrically, "Twice Wrong" sees the singer delivery for effect and point of view for novelty. What follows is ultimately a subversively emotive song; it also happens to be quite good. The big take-away, this line near the end "But you know you could be free, you could fly / Still you stand by my side"

- John Noggle

Dadifox [PDDG] - "Chinchiví (Afro Latino 2014)"

September's end was prolific for the Piquenos Djs do Guetto. So far the same can be said for October. For one, Dj Firmeza, debuted two songs. The first track was something of a funana experiment, followed by a return to the patented Firmeza style batida. But the plot to War Games, PDDG is an entity extending beyond one man's desktop. By way of collaboration with Liofox, Dadifox too shared a new beat with the start of autumn proper. This latest song, though, is not entirely original. Much like "Joana (Edit 2k14)," the song below is a remix. But the difference lies in inspiration. Rather than interpret another kuduro Dadifox has turned far west of Angola for inspiration.

What follows is an old Afro-Peruvian number refashioned in the style of modern Lisbon. Written by Pepe Villalobos, "Chinchiví" is originally a festejo; albeit one that was brought up to date in 2005 by Afro-Peruvian revivalists Novalima. Not coincidentally, this is the same source - not to mention the same sample - used by Dj Willicox and Puto Baba five weeks ago. Truthfully, though, the two songs, though, are hardly identical; Dadifox delivering a more polished.

In addition to being slightly quicker "Chinchiví (Afro Latino 2014)" is marked by purpose. The kick drum and snare gives the beat a sense of assertion. Two miscellenous drums and a shekere provide the additional rhythm. But the where fringe elements are concerned, this song is all about whistle action. Used in the chorus, the whistle raises the  song's over all energy level. So although it is intriguing that the chorus would be looped so quickly, it does avoid a monotonous four minutes. And, if nothing else, this brings to light Dadifox's exemplary sample manipulation. Heard predominantly in the fifty second introduction (which includes the head from 0:00 - 0:15 to be fair) and the second 'verse' just past 2:00, the bassline is cut-up to the benefit of the song. Ultimately the song goes out as the effects begin. But much like the whistle, the effects are used more for effect that style or technological prowess. "Chinchiví (Afro Latino 2014)" is more than simply serviceable; it a remix, and a quite successful one at that.

- John Noggle

EdiCerelac [MNJ] - "75 - Daniel A"

Excitement is curiously absent. The song is a kuduro that borders on an afro-house track. Of further note, "56 - Oliva" was released nearly two weeks ago; its write-up long delayed long delayed by this author. Alas, a four to the floor bass and single synth melody dominate. Plenty of hand drum tone provides fringe rhythm, but the track lacks a certain "pop." No true moment of exaltation is felt. Yet, in the interest of fairness, were this track credited to anyone else it would more than hydrate parched ears. Standards in entertainment, as in beverage, are of the utmost importance. And if the beatmaker in question were not named EdiCerelac, expectations be appropriately tapered. But as the Mãn Juh Produções name suggests, there is indeed just one more song to hear.

Like a pitcher, EdiCerelac engages in the same practice as his counterparts. But rather than baseball, music is his sport of choice. Producers use the same style of beats as a framework much like pitchers vary wind-up and delivery. Much the same instruments are put into place to decorate bare structures. The end result is hopefully a net positive: a ground out, a double-play, or perhaps even a strikeout.  How a pitcher's achieves the desired result is unqiuely through speed and variety of pitches.In this instance, discretion is not unlike poetic licence. So in continuing the ball-and-stick metaphor, EdiCerelac is a Nippon Professional Baseball pitcher: capable, lesser known, and somehow...different, almost curiously so (a feat which the song below is much more adept at accomplishing than "56 - Oliva")

Although not immediately clear, "75 - Daniel A," sees EdiCerelac return to a staple beat: batuco. As is commonly heard, the track begins with a false start. This particular song, though, does not merely playback its beat. EdiCerelac instead builds up suspense with a guitar, only to promptly reel back its energy. Three single beats play before POP! the introduction ends. The song proper is set to begin on the fourth. Aside from the rattle - a refreshing alternative to snare rolls - a vocal sample and woodblock provide supporting percussion in the A & C sections. Section B, though, is a natural magnet for attention. Vocals faded, the guitar contracts into a harmonic role as a high pitched synth lays claim to the melody. What follows is a patented success - busy without obvious indulgence, loyalty to a social/dance purpose, and pleasant aesthetics within two-minutes - from a well kept secret

- John Noggle

Dj LiloCox [CDM] - "LA Party (Original Mix)"

Like Captain Spaulding in hot pursuit of Mrs. Rittenhouse, the intentions at hand are transparent. "LA Party (Original Mix) is a cross-over track; albeit a strong one at that. What follows is the first LiloCox release in nearly three-months not to feature CDM mate Dj MaboOku. The afro-house track, "LA Party (Original Mix),"  tries to reach as wide, and varied, an audience as possible. In contrast to the recent, and captivating, CDM beat-tape, though, this song is not an obvious genre exploration. Two-thirds of the song - whose structure decidedly more standard that a typical CDM number - is decidedly afro-house. "LA Party (Original mix)" even goes so far as to introduce a new elements; as opposed to finding new use for old sounds. Tambourine and claps are rare on where percussion is concerned, but what sounds awfully similar to a thunder sheet is unheard of. Ultimately, the once dormant bass breaks out of winter hibernation into a deep house spring; carrying the song towards a shameless, nearly minute long outro in the process. The accomplishment of broadening range with sacrificing aesthetics, though, should not be understated.

- John Noggle

Dj Wilicox [L.S Produções] - "Patagoloiza (Remix)" & "Natural Marimba"

Do not analyze the third sentence. This is not an homage Xzibit memes past. Regardless, what follows is a remix of a remix; as a matter of fact, it was debuted on the Bebe Poco L.S Produções mix. Minutiae aside, "Patalogoiza (Remix)" was officially released two weeks after the DJ Wayne and DJ NinOo version of Pataka Music's original. Willicox too opts for a batida re-creation but the same track is hardly composed twice. Willicox's beat (quite similar to the one used for his collaboration with Puto Baba), for example, lifts the same vocal samples but opts for a slower tempo. The producer also relies on percussive diversity - by means of shakers, vocals, and peripheral drums - to compensate for a static bass. Yet the shining moment for this track occurs melodically. A rich tapestry of elements is brought forth by Willicox, beginning with a choice to replace the marimba with a guitar; granted it returns later, reintroduced alongside two synths and a flute later on in the song, but the factuality of the statement stands. Overall, a serviceable effort.


Onwards to more recent developments. Released a week ago , "Natural Marimba" could just be titled 'Outra Coiisa Diferente.' As with his last original song - note that both exquisitely set-up the inevitable punch - Willicox features a non-descript, mid-tempo batida. The rhythm sounds equal parts batuco and kuduro. But influence aside, the beat is imaginative without losing measure of its purpose to incite dancing. Also, for what it is worth, cymbals are no longer used exclusively as transitional cues. "Natural Marimba," is ride cymbal heavy with a kick drums, vocals, and peripheral percussion taking charge of syncopation. Most interesting on the run-front is not the mariba. Rather, the synth takes on three roles: harmony, ambient texture, and melodica. Another quality effort from a beat-maker worth keeping tabs on.

- John Noggle

Dj Firmeza [PDDG] - "Descansa em Paz Pai Ate um Dia"

Writers are expected to cover familiar topics. The merits of this cliche can be endlessly debated. of course. But on a personal level, few will hesitate to say motivation is not my forte. This author is young like Fellini character, and with decidedly half the passion. Furthermore, I am no armchair psychologist. That being said, ignore any business cards in circulation touting the services of a 'PsychoNogglist.' The medical review board has not yet finished considering the title's validity.

Readers, though, should not hesitate to seek entertainment while this matter is resolved. Pass the time comfortably. Something as simple as light reading material works wonders on waiting room minds. But the musically inclined might prefer the new Dj Firmeza song. Released just two days ago, the proximity of "Descansa em Paz Pai Ate um Dia" is close to a pair of releases from PDDG co-horts Dj Liofox and Dadifox. A narrative flow begs questions of competition, relevance, and timing. The preceding sentence, however, is nothing more than baseless speculation. The only necessary conjecture is the song's title, which translates to "Rest in peace, dad. Until tomorrow."

As with other Firmeza numbers, "Descansa em Paz Pai Ate um Dia" is a mid-tempo batida and very danceable. During a full-sitting, three different beats are heard - one of which resembles an original Firmeza beat, so far used only once earlier this year. At any rate, percussion galore is waiting to be discovered. Finger snaps, shakers, and hand drums can be heard alongside those of a digital variety; essentially standard fare. The introduction makes it clear, though, that what few weaknesses were embedded in "Sao Tome" have been addressed. Bass and vocals share the bulk of responsibility on "Descansa em Paz Pai Ate um Dia." Short male vocal samples assist with percussion duties. But of greater intrigue and impact is the female counterpart. Like "Terrorista 4000" Firmeza uses a sort of free-vocals. Her sound is a portion of the song but not necessarily a part of it; presently trying to cause a sense of elation more so than serve as a element to be used as the other instruments. The synth ultimately proves a dynamic element, but much less effective than the house-inspired bass. Short, simple phrasing characterizes the synth, but it is subwoofers worldwide which elevate "Descansa em Paz Pai Ate um Dia."

- John Noggle