All roads must not lead to Rome.
Occasionally, the path being tread leads elsewhere; a lesson so simple even a compass can comprehend. Unfortunately, much like roads, not all lessons are the same. A sad reality, but any road traveled, regardless of frequency, must conclude. Destiny is a cruel mistress. Whether by round-trip or sudden lack of pavement, all travel eventually comes to a halt.
Or as Hector Lavoe sang, "Todo Tiene suuuu finaaaaal"
Inevitability aside, the road most relevant to this post is the IC2. The subject, after all, is the creative partnership between Nunex & Famifox; two beat-makers both named Miguel. Located in the city of Sacavém, just eight miles north-east of Lisbon, these two DJs form Alto Nivel Produções. Here, in a community called Quinta do Mocho, A.N makes its music of choice: afro-house (good rhythm that does not rely on "ghetto" digital drums amidst a clear preference for melody). The sound is generally mid-tempo and the instruments are traditional; though by no means does the crew avoid synth. Rhythm-wise, batuco often appear on A.N tracks as does kuduro as well.
Despite the allusion to salsa, in addition to the very good "AfroLatin Guitar 2014," what follows are not Latin flavors; heard on these pages time and time again. Instead, what follows is another mid-tempo afro-house track. The introduction is sparse; made up of only bass, kick-drum, and flute. Quickly, however, the rhythm is elaborated upon by a hybrid digital/analogue percussion. The same applies for the layered melody of flutes and MIDI counterparts. A tune that progresses consistently, the moment of elation arrives not a minute too late: in the third section with percussion solos and the unanticipated peripheral tabla.
Nothing at all can be said about the song below that is negative. Listeners and the authors can only hope that this is in fact not the end of Alto Nivel's estrada
- John Noggle
Friday, November 28, 2014
Wednesday, November 26, 2014
Black$ea Não Maya - "MacoBayou"
The petition to relocate Holy Week's calendar location - specific only to North America - begins here.
Fret not! The heavy lifting has already been done; precedent has been set. See May Day, which is of virtually no importance. Instead, the United States has designated Labor Day to honor the end of Summer. Armistice Day? Far from a recognizable 24-hour period; after all, American soldiers, both known and unknown, are celebrated on Veterans Day instead.
Sure, holidays and the celebrations they cause are largely a product of culture. So perhaps as a reflection of tits unique identity, the land of the fifty states and two-thousand lakes creates its own. Thanksgiving? Why yes: an autumnal Thursday dedicated to appreciation and humble reflection. A day followed most naturally by excessive consumerism sensibly called Black Friday, because the other days designated to be "Black" - specifically Monday and Tuesday - all had happy endings.
So why exclude the remaining five days of the week? It appears another deep-seeded American tradition conveniently unfolds as November comes to a close. Amateurs engage in North American variant of football,; typically American in an of itself. To drive the point home, however, these games are played under the guise of regional vitriol. Institutions of higher learning compete in trials of brawn. Hardly any state is spared! Alabama-Auburn...Wisconsin-Minnesota...Louisiana State and...
...well, the Bayou have not a natural rival. Instead, readers might shift their attention towards the new Black$ea Não Maya track. The group's first release in a month is titled "MacoBayou" and, luckily, appears to involve grass and bayou, just no tigers (appropriate, perhaps, because BNM competes with no one except themselves).
What follows does not deviate much from the recent spate of BNM releases: a batucada with a strictly percussive introduction. In contrast to the Firma do Txiga collaboration, though, "MacoBayou" is faster and more in the vein of "Ché Tropa." Alas, reality is not simple; as heard on the fermented funk flavor, which appears only in the song's head. So truth be told, "MacoBayou" is the culmination of the crew's 2014 effort. As BNM has done before, the street party is brought to the listener's speakers. The thick synth vanishes and the beat changes. Drums progress from quarter notes, to eighth notes, to sixteenth notes during the interlude until the tension breaks. Four separate vocal samples - all of which proves to be dynamic - appear between the whistle blows to carry the melody. Two more beats are heard. Big, analog drums and crafty digital are held together by tambourine and snare - similar to the hi-hat on :"Voçê é feia" - until the tour de force returns back to its origin.
Not unlike the holidays, no surprises occur. But as with the best celebration, when hearing "MacoBayou," the simple, searing sensation of stupendous sagacity protrudes the consciousness. BNM is very good at making music.
- John Noggle
Fret not! The heavy lifting has already been done; precedent has been set. See May Day, which is of virtually no importance. Instead, the United States has designated Labor Day to honor the end of Summer. Armistice Day? Far from a recognizable 24-hour period; after all, American soldiers, both known and unknown, are celebrated on Veterans Day instead.
Sure, holidays and the celebrations they cause are largely a product of culture. So perhaps as a reflection of tits unique identity, the land of the fifty states and two-thousand lakes creates its own. Thanksgiving? Why yes: an autumnal Thursday dedicated to appreciation and humble reflection. A day followed most naturally by excessive consumerism sensibly called Black Friday, because the other days designated to be "Black" - specifically Monday and Tuesday - all had happy endings.
So why exclude the remaining five days of the week? It appears another deep-seeded American tradition conveniently unfolds as November comes to a close. Amateurs engage in North American variant of football,; typically American in an of itself. To drive the point home, however, these games are played under the guise of regional vitriol. Institutions of higher learning compete in trials of brawn. Hardly any state is spared! Alabama-Auburn...Wisconsin-Minnesota...Louisiana State and...
...well, the Bayou have not a natural rival. Instead, readers might shift their attention towards the new Black$ea Não Maya track. The group's first release in a month is titled "MacoBayou" and, luckily, appears to involve grass and bayou, just no tigers (appropriate, perhaps, because BNM competes with no one except themselves).
What follows does not deviate much from the recent spate of BNM releases: a batucada with a strictly percussive introduction. In contrast to the Firma do Txiga collaboration, though, "MacoBayou" is faster and more in the vein of "Ché Tropa." Alas, reality is not simple; as heard on the fermented funk flavor, which appears only in the song's head. So truth be told, "MacoBayou" is the culmination of the crew's 2014 effort. As BNM has done before, the street party is brought to the listener's speakers. The thick synth vanishes and the beat changes. Drums progress from quarter notes, to eighth notes, to sixteenth notes during the interlude until the tension breaks. Four separate vocal samples - all of which proves to be dynamic - appear between the whistle blows to carry the melody. Two more beats are heard. Big, analog drums and crafty digital are held together by tambourine and snare - similar to the hi-hat on :"Voçê é feia" - until the tour de force returns back to its origin.
Not unlike the holidays, no surprises occur. But as with the best celebration, when hearing "MacoBayou," the simple, searing sensation of stupendous sagacity protrudes the consciousness. BNM is very good at making music.
- John Noggle
Tuesday, November 25, 2014
Puto Nuno [Txiga Pro] - "Tarraxo Tshunami"
Max B is the Wave-Master General. No sound, artist, or movement can change this tidal designation.
Puto Nuno, however, has made a strong case.
Make no mistake, Puto Nuno and Dj NinOo are two different people. Although separated by a single letter, these men have unique identities. Moreover, each has proven through their beats to be a notable member of Firma do Txiga. The following post, however, concerns on only Nuno. A proverbial jack-of-all-trades, Nuno does not exercise a mastery over any type of beat. The tempo on Nuno tracks varies on each release. Songs vary from slow to mid-range to fast depending on what the situation requires; dialectical enough to merit a moniker not unlike 'Proletariat Nuno.' This latest song is no exception as Nuno's style - active bass, minimal melody, and limited vocal samples - continues to evolve.
What follows is a swelling tarraxo. Released nearly a month ago, the song below is separated from another slow song, "Tarraxo do Madrugada," by slightly over a week. As such, the similarities are unavoidable. Both combine the sound of digital and analogue drums; the former playing the main beat as the latter adds triplet flare. Alas, "Tarraxo Tshunami" is more than a glorified 'brevemente' beat; instead, it is the peak of Nuno's abilities. As per usual, the single element harmony/melody is used. And while Nuno has exhibited technical prowess before, it is exacerbated on "Tarraxo Tshunami." The vocals ultimately become a percussive highlight above booming bass that appears after the song head - just before the minute mark - to establish the arrival of the song proper. Not only living-room, head-set success but a dance-floor worthy tune as well, "Tarraxo Tshunami" is worthy of accolades.
- John Noggle
Puto Nuno, however, has made a strong case.
Make no mistake, Puto Nuno and Dj NinOo are two different people. Although separated by a single letter, these men have unique identities. Moreover, each has proven through their beats to be a notable member of Firma do Txiga. The following post, however, concerns on only Nuno. A proverbial jack-of-all-trades, Nuno does not exercise a mastery over any type of beat. The tempo on Nuno tracks varies on each release. Songs vary from slow to mid-range to fast depending on what the situation requires; dialectical enough to merit a moniker not unlike 'Proletariat Nuno.' This latest song is no exception as Nuno's style - active bass, minimal melody, and limited vocal samples - continues to evolve.
What follows is a swelling tarraxo. Released nearly a month ago, the song below is separated from another slow song, "Tarraxo do Madrugada," by slightly over a week. As such, the similarities are unavoidable. Both combine the sound of digital and analogue drums; the former playing the main beat as the latter adds triplet flare. Alas, "Tarraxo Tshunami" is more than a glorified 'brevemente' beat; instead, it is the peak of Nuno's abilities. As per usual, the single element harmony/melody is used. And while Nuno has exhibited technical prowess before, it is exacerbated on "Tarraxo Tshunami." The vocals ultimately become a percussive highlight above booming bass that appears after the song head - just before the minute mark - to establish the arrival of the song proper. Not only living-room, head-set success but a dance-floor worthy tune as well, "Tarraxo Tshunami" is worthy of accolades.
- John Noggle
Friday, November 21, 2014
DeeJay KarFox [K.Z.A. Crew] - "Bebedera"
These times are marked by digital technology.
Just to clarify, though, the planet has not yet transformed into a James Cameron wet dream. Where the well-being of Tucson is concerned: at this point it is best left to hope. Still, no reason at all exists to call Earth "Computer World." The voluntary act of not responding to any and shouts of "Klaatu bara nikto" is still entirely acceptable. Once again, the robots have not taken over.
Instead, DeeJay KarFox has returned; still far from a much sought after drone.
The title bears a striking resemblance to a fellow K.Z.A. member. Alas, "Bebedera" is a undeniably a KarFox production. And much like possessing the world's largest an onion, the audience is best-off cutting the song half. Appreciate the legion of limpid layers. Naturally, a coincidental, albeit commonly reported side effect, is the uncontrollable flow of tears from one, and in some cases both, eye sockets. Do not be alarmed; this is one of many perfectly acceptable biological responses. Moreover, any and all potential listeners would do well in preparing rations of stamina. The world's largest onion - not unlike a KarFox - takes time to process. But by the end, the guaranteed gratification comes from the process itself
What follows is a semba beat - fast, but not an inordinately speedy hi-hat/snare/scraper. The good DeeJay, however, has labeled "Bebedera" a kuduro; and to his opinion the author must defer. What is of complete certainty, though, is "Bebedera" that is crafted in a techno manner. Beyond the 4/4 kick drum, no ground plan for arranging instruments is provided. KarFox much prefers to interchange samples. Guitar is heard, as it has been heard in a different manner before. Synths, too, make an appearance, although not as noticeable as in other recent K.Z.A. tracks. As has been the case before, peripheral percussive pieces are perpetually present; even if their identity changes. Of greatest note are the four different vocals samples - most of which can be credited to the beat-maker himself - that command the energy of the track.
The bi-sectional track's duration is only three minutes, but the energy drained the audience gives it the appearance of being much longer. Good effort, as per usual.
- John Noggle
Just to clarify, though, the planet has not yet transformed into a James Cameron wet dream. Where the well-being of Tucson is concerned: at this point it is best left to hope. Still, no reason at all exists to call Earth "Computer World." The voluntary act of not responding to any and shouts of "Klaatu bara nikto" is still entirely acceptable. Once again, the robots have not taken over.
Instead, DeeJay KarFox has returned; still far from a much sought after drone.
The title bears a striking resemblance to a fellow K.Z.A. member. Alas, "Bebedera" is a undeniably a KarFox production. And much like possessing the world's largest an onion, the audience is best-off cutting the song half. Appreciate the legion of limpid layers. Naturally, a coincidental, albeit commonly reported side effect, is the uncontrollable flow of tears from one, and in some cases both, eye sockets. Do not be alarmed; this is one of many perfectly acceptable biological responses. Moreover, any and all potential listeners would do well in preparing rations of stamina. The world's largest onion - not unlike a KarFox - takes time to process. But by the end, the guaranteed gratification comes from the process itself
What follows is a semba beat - fast, but not an inordinately speedy hi-hat/snare/scraper. The good DeeJay, however, has labeled "Bebedera" a kuduro; and to his opinion the author must defer. What is of complete certainty, though, is "Bebedera" that is crafted in a techno manner. Beyond the 4/4 kick drum, no ground plan for arranging instruments is provided. KarFox much prefers to interchange samples. Guitar is heard, as it has been heard in a different manner before. Synths, too, make an appearance, although not as noticeable as in other recent K.Z.A. tracks. As has been the case before, peripheral percussive pieces are perpetually present; even if their identity changes. Of greatest note are the four different vocals samples - most of which can be credited to the beat-maker himself - that command the energy of the track.
The bi-sectional track's duration is only three minutes, but the energy drained the audience gives it the appearance of being much longer. Good effort, as per usual.
- John Noggle
Thursday, November 20, 2014
EdiCerelac [MNJ] - "57 - Pesadão 2014" & "13 - Cristina S2"
Stop reading immediately. Go forth and locate your cellular device. Now, proceed to call each recorded contact; and do so with not a hint discretion! Anyone readily available will suffice.
Sadly, the inevitable has happened once again.
Bill Murray has been allowed back into the state of Pennsylvania. In spite of the 1993 Harold Ramis documentary - one which chronicles the decidedly negative effects of weathermen and groundhogs - Murray failed to heed warning. Only making matters worse, the city of Punxsutawney is his established destination.
Frankly, this beloved comedy actor and part-time sports psychologist should know better. The effects of this conundrum are only further compounded because Murray should know better. Not once in the past four decades has the Second City alumni collaborated with a furry, ground dwelling creature and escaped with a positive tale.
Of course, the above is only partially true.
Yes, the predictable has once again occurred. Just make sure to note Bill Murray, as well as the resulting story detailed, is decidedly fiction. Fret not, though, the theme remains the same. The subject has changed but the replacement is that much more familiar. Once again, the author has overlooked the output of an adept musician. The result is a full month passed; the victim is the two EdiCerelac found below. But, as in any tragedy, the upside must be found. For one, the Mãn Juh leader and his exploits have already been chronicled. So before the sun rises, and the day remains unchanged, let the song be examined as the Buddha's words resound, "Let go of the past, let go of the future, let go of the present, and cross over to the farther shore."
The cataloging system is absolutely cryptic. EdiCerelac, it seems, assigns numbers to songs as he wishes. Still, the songs remain unaffected. A batida with hints of batuco, "Pesadão" stays the course as does beat-maker's preference for faster tempos. In respect to unordinary instrumentation, hi-hat is more prevalent that snare; but listeners must wait until the final section to hear the showstopping drum. Alongside the synth heard in the head, another appears with four notes and a hitch during the second section. Most intriguing, though, is the over-organized A-B-A-bridge-C-A structure for a song that fades-out short of the two-minute mark.
On "Cristina S2," the instrumentation is largely the same. Two synths remain the bedrock. Instead of horns, though, a piano is drafted. Yet the identity of "Cristina S2," is entirely different from "Pesadão". What follows is a slow song. The tempo, however, is expendable seeing as the Dj has worked the more subdued end of the spectrum before. Nonetheless, EdiCerelac's beloved snare reappear and in doing so a zouk beat results; just as much a novelty in the Mãn Juh catalog as a song eclipsing the three-minute mark. Observational nuances aside, "Cristina S2," is a good song with a deep groove. Albeit briefly, the aforementioned piano plays captivatingly disjointed in the second section. The second synth - a staple of the song's latter half - also possesses a unique, formless marker.
Not even the passage of time - or lack thereof - can make an EdiCerelac song unappealing.
- John Noggle
Sadly, the inevitable has happened once again.
Bill Murray has been allowed back into the state of Pennsylvania. In spite of the 1993 Harold Ramis documentary - one which chronicles the decidedly negative effects of weathermen and groundhogs - Murray failed to heed warning. Only making matters worse, the city of Punxsutawney is his established destination.
Frankly, this beloved comedy actor and part-time sports psychologist should know better. The effects of this conundrum are only further compounded because Murray should know better. Not once in the past four decades has the Second City alumni collaborated with a furry, ground dwelling creature and escaped with a positive tale.
Of course, the above is only partially true.
Yes, the predictable has once again occurred. Just make sure to note Bill Murray, as well as the resulting story detailed, is decidedly fiction. Fret not, though, the theme remains the same. The subject has changed but the replacement is that much more familiar. Once again, the author has overlooked the output of an adept musician. The result is a full month passed; the victim is the two EdiCerelac found below. But, as in any tragedy, the upside must be found. For one, the Mãn Juh leader and his exploits have already been chronicled. So before the sun rises, and the day remains unchanged, let the song be examined as the Buddha's words resound, "Let go of the past, let go of the future, let go of the present, and cross over to the farther shore."
The cataloging system is absolutely cryptic. EdiCerelac, it seems, assigns numbers to songs as he wishes. Still, the songs remain unaffected. A batida with hints of batuco, "Pesadão" stays the course as does beat-maker's preference for faster tempos. In respect to unordinary instrumentation, hi-hat is more prevalent that snare; but listeners must wait until the final section to hear the showstopping drum. Alongside the synth heard in the head, another appears with four notes and a hitch during the second section. Most intriguing, though, is the over-organized A-B-A-bridge-C-A structure for a song that fades-out short of the two-minute mark.
On "Cristina S2," the instrumentation is largely the same. Two synths remain the bedrock. Instead of horns, though, a piano is drafted. Yet the identity of "Cristina S2," is entirely different from "Pesadão". What follows is a slow song. The tempo, however, is expendable seeing as the Dj has worked the more subdued end of the spectrum before. Nonetheless, EdiCerelac's beloved snare reappear and in doing so a zouk beat results; just as much a novelty in the Mãn Juh catalog as a song eclipsing the three-minute mark. Observational nuances aside, "Cristina S2," is a good song with a deep groove. Albeit briefly, the aforementioned piano plays captivatingly disjointed in the second section. The second synth - a staple of the song's latter half - also possesses a unique, formless marker.
Not even the passage of time - or lack thereof - can make an EdiCerelac song unappealing.
- John Noggle
Wednesday, November 19, 2014
Puto Tito [C.L Recordz] - "Não a Silencio" & "♦"
Political theater is not limited to the principal place of legislative passage; lest, of course, senators bring knives to a word fight
Note that lede is far from an endorsement. None of the following actions should be performed. Still, the author feels this specific statement is in order: Do not make it rain at the New York Stock Exchange.
Sure, Nero prominently uttered, "What an artist dies in me," but the art of politics hardly passed with him. For what is an actor without an audience, a politician with the citizenry? Yet even the authority figure might be expendable. Sometimes the only actors required and a couple doctors and a few tents as the venue. But regardless of tactic, no one will ever achieve the level of notoriety established by the one-man version of Greenpeace, Tito Kayak and his many feats of climbing/political activism.
Unfortunately, perhaps, today's subject is a different Tito.
The man behind PT Musik nine miles from Lisbon. And not only does PT reside outside the capital, but in order to find him one must travel south of the River Tejo. There, out on the Casta da Caprica, is Puto Tito. An independent producer - though distantly acquainted with C.N - PT is a prolific track re-post'er and beat-maker. In doing so, PT promotes his aspiring label C.L Recordz. But where Tito's music is concerned, the following conclusions are to be drawn. First, PT is partial to slower beats; zouk to be specific. The odd tarraxo can also be heard, but the style is simply not as common in this canon. Second, Puto Tito is not shy about using synths. Typical and more traditional melody instruments are also heard, but once again, not as frequently. And third is this assumption: PT Musik is looking to progress into a more percussive sound, as is heard on his "Botão."
Of honorable mention is the protruding quality of Puto Tito's bass. Far from a bass musician in the style of Dj b.boy, Tito nonetheless leaves an imprint on the scene and the listener. With an unremitting force, Tito's bass is best taken straight into the bloodstream so as to make the bones rattle. Commitment to these songs is pulled out of the audience via bass.
For all of the above reasons, then, what follows is out of the ordinary. To begin, the bass is absent; in its place a 4/4 kick drum. Clocking in at a cumulative sixty-seconds - adjusting for a three-second intro - "Não a Silencio" might very well be the precursor to a larger song. Of additional note, however, is both tempo and style. What follows is a batida. Composed of two beats, "Não a Silencio" the first half of the track resembles a batuco followed by a techno feel not unlike KarFox. Despite an all around bare song, the melody is carried by a chain-like element similar to what K30 used recently. If nothing else, seeds of intrigue.
Disregard the title. After the jump readers will not find a new Prince song with a senselessly long title. Be that as it may, judging by the name stylization, Puto Tito has an affinity for playing cards. The result is a track titled "♦." Much like the previous number, "♦" is neither slow nor full of bass. As would then be expected, "♦" is a bare track. A 4/4 kick-drum habitating where the bass should. Instead, listeners will hear a collection of horns and drums. Look elsewhere for added complication. Of note, however, is that the track is influenced kuduro. And while "♦" may very well be a work in progress, the timbal break just past the halfway mark is exciting in and of itself.
- John Noggle
Note that lede is far from an endorsement. None of the following actions should be performed. Still, the author feels this specific statement is in order: Do not make it rain at the New York Stock Exchange.
Sure, Nero prominently uttered, "What an artist dies in me," but the art of politics hardly passed with him. For what is an actor without an audience, a politician with the citizenry? Yet even the authority figure might be expendable. Sometimes the only actors required and a couple doctors and a few tents as the venue. But regardless of tactic, no one will ever achieve the level of notoriety established by the one-man version of Greenpeace, Tito Kayak and his many feats of climbing/political activism.
Unfortunately, perhaps, today's subject is a different Tito.
The man behind PT Musik nine miles from Lisbon. And not only does PT reside outside the capital, but in order to find him one must travel south of the River Tejo. There, out on the Casta da Caprica, is Puto Tito. An independent producer - though distantly acquainted with C.N - PT is a prolific track re-post'er and beat-maker. In doing so, PT promotes his aspiring label C.L Recordz. But where Tito's music is concerned, the following conclusions are to be drawn. First, PT is partial to slower beats; zouk to be specific. The odd tarraxo can also be heard, but the style is simply not as common in this canon. Second, Puto Tito is not shy about using synths. Typical and more traditional melody instruments are also heard, but once again, not as frequently. And third is this assumption: PT Musik is looking to progress into a more percussive sound, as is heard on his "Botão."
Of honorable mention is the protruding quality of Puto Tito's bass. Far from a bass musician in the style of Dj b.boy, Tito nonetheless leaves an imprint on the scene and the listener. With an unremitting force, Tito's bass is best taken straight into the bloodstream so as to make the bones rattle. Commitment to these songs is pulled out of the audience via bass.
Disregard the title. After the jump readers will not find a new Prince song with a senselessly long title. Be that as it may, judging by the name stylization, Puto Tito has an affinity for playing cards. The result is a track titled "♦." Much like the previous number, "♦" is neither slow nor full of bass. As would then be expected, "♦" is a bare track. A 4/4 kick-drum habitating where the bass should. Instead, listeners will hear a collection of horns and drums. Look elsewhere for added complication. Of note, however, is that the track is influenced kuduro. And while "♦" may very well be a work in progress, the timbal break just past the halfway mark is exciting in and of itself.
- John Noggle
Monday, November 17, 2014
Dj Willicox [L.S Produções] - "Fumar Mata"
The man formerly known as as Robert Zimmerman sang many years ago, "The times they are a-changin.'"
To which the author says, "Indeed Bobby, indeed..."
And so, with that having been said, feel free to travel past the thick air of smoke. Ignore the disembodied laughter. Let the limping litter languish on the floor. Proceed, instead, straight to the back room. Both rainy day women - proudly showing the numbers 12 & 35 emblazoned on their chest and back- are only the muscle. Doors must be guarded; do not be alarmed. Go past them without hesitation. Remember Prohibition is an absolutist antepast affliction.
Along with the 18th amendment, marijuana's criminalization will soon be a long term memory. For some inexplicable reason the short-term variety is, evidently, unavailable. Lo que sera, sera. Alas, at the time of publishing two more states have approved ballot proposals legalizing recreational marijuana; causing thousands of stoners, unaware cannabis can in any other variety, to sit upright and amazed. Now the tally stands fit at four. Tack on a handful of states with with prescriptions of the medical variety and it becomes clear: past opinions have lackadaisically been weeded out.
Never mind that these actions are questionably legal. International treaties, like curfews, are meant to be broken. Go on, be rebellious.
Do, however, pay heed to the advice below. With his first release in just about a month and a half, Dj Willicox returns with a public service announcement of sorts: Smoking kills. But remember that unpredictability is key. This MNJ/L.S affiliated beat-maker is not one to share tracks of recurring genres. A preference for house-type can be heard, but the Willicox canon ranges from batida to batuco to tarraxo and back. Perhaps the Dj at hand is not a taste creator. Instead, what sets Willicox apart is a fearlessness to aim towards the void. Rather than mimic what has been known to work, this third of the L.S. triple attacks focuses on maing sounds as of yet unheard.
What follows is not exception (but context is key). Clocking in just under two-minutes, "Fumar Mata" is a mid-tempo batida with a quaint rarity: of immediate interest is the introduction. While a snare-hi-hat kuduro beat carries the rhythm forward - ultimately becoming the rhythm just before the outro - the drumkit far from being the predominant piece of percussion. While the beat itself resembles the one used on "Patagoloiza (Remix)," a djembe is used instead. The four to the floor bass, like the vocal samples, operate to the contrary; both have been heard from Willicox before. Instead, ears are called to action. All attention is shifted towards the melody. More than an electro-house knock off, Willicox enlists three synths on "Fumar Mata." Yes, none is phrased is longer than a bar. Regardless, the result is more than than a tension building cause. Along with the inseparable sexual nature of experiencing the track's peak - cheekily acknowledged by a female vocal sample - all effects are used benefit the song rather than exhibit technical ability.
Smoking kills, but feel free to wait until after hearing "Fumar Mata" to heed Willicox's advice
- John Noggle
To which the author says, "Indeed Bobby, indeed..."
And so, with that having been said, feel free to travel past the thick air of smoke. Ignore the disembodied laughter. Let the limping litter languish on the floor. Proceed, instead, straight to the back room. Both rainy day women - proudly showing the numbers 12 & 35 emblazoned on their chest and back- are only the muscle. Doors must be guarded; do not be alarmed. Go past them without hesitation. Remember Prohibition is an absolutist antepast affliction.
Along with the 18th amendment, marijuana's criminalization will soon be a long term memory. For some inexplicable reason the short-term variety is, evidently, unavailable. Lo que sera, sera. Alas, at the time of publishing two more states have approved ballot proposals legalizing recreational marijuana; causing thousands of stoners, unaware cannabis can in any other variety, to sit upright and amazed. Now the tally stands fit at four. Tack on a handful of states with with prescriptions of the medical variety and it becomes clear: past opinions have lackadaisically been weeded out.
Never mind that these actions are questionably legal. International treaties, like curfews, are meant to be broken. Go on, be rebellious.
Do, however, pay heed to the advice below. With his first release in just about a month and a half, Dj Willicox returns with a public service announcement of sorts: Smoking kills. But remember that unpredictability is key. This MNJ/L.S affiliated beat-maker is not one to share tracks of recurring genres. A preference for house-type can be heard, but the Willicox canon ranges from batida to batuco to tarraxo and back. Perhaps the Dj at hand is not a taste creator. Instead, what sets Willicox apart is a fearlessness to aim towards the void. Rather than mimic what has been known to work, this third of the L.S. triple attacks focuses on maing sounds as of yet unheard.
What follows is not exception (but context is key). Clocking in just under two-minutes, "Fumar Mata" is a mid-tempo batida with a quaint rarity: of immediate interest is the introduction. While a snare-hi-hat kuduro beat carries the rhythm forward - ultimately becoming the rhythm just before the outro - the drumkit far from being the predominant piece of percussion. While the beat itself resembles the one used on "Patagoloiza (Remix)," a djembe is used instead. The four to the floor bass, like the vocal samples, operate to the contrary; both have been heard from Willicox before. Instead, ears are called to action. All attention is shifted towards the melody. More than an electro-house knock off, Willicox enlists three synths on "Fumar Mata." Yes, none is phrased is longer than a bar. Regardless, the result is more than than a tension building cause. Along with the inseparable sexual nature of experiencing the track's peak - cheekily acknowledged by a female vocal sample - all effects are used benefit the song rather than exhibit technical ability.
Smoking kills, but feel free to wait until after hearing "Fumar Mata" to heed Willicox's advice
- John Noggle
Friday, November 14, 2014
Puto Wilson [C.N] x Mix BwÉ [AvP] - "Os Filha da Fruta"
A mystery is only as good as the detective who solves it.
Conversely, a detective is only as good as the mysteries he - or, to be fair, she - has solved.
The mythical investigator promoted by popular culture only pretends to possess perfunctory problem-solving...skills. Yet detective work requires more than a bent-apple pipe. An affinity for distinguishing the elementary from the intermediary is helpful, but not required. While on the subject of job description adaptability, tobacco can indeed must be substituted for a lollipop. Regardless, each case must be taken independently from the rest. And most importantly - whether obliged by duty, reward, or sheer morbidity of interest - the best detective cannot rest until the mystery at hand is no longer.
Unless of course technology is somehow involved.
G.K. Chesterton wrote many a tale. The detective tales of little, old Catholic priest Father Brown were by far the most prevalent in the Englishman's cannon; and for good reason. Aside from the fact that Father Brown sidekick was previously the greatest criminal in the world, he could also spin a phrase. Among them was the saying that, "No machine can lie [...] nor can it tell the truth." Now, the mysteries of both Mix BwÉ and Puto Wilson have been covered. More over, the words in question are located inside of the internet. Using the good clergyman's knowledge, perhaps the technological unknown is best left unexplored.
In the mean time, though, why not enjoy the sounds of Mix BwÉ and Puto Wilson?
What follows is a mid-tempo kuduro. But while "Os Filha da Fruta," has a familiar beat, the rhythm section is minimal. In stark contrast to Mix BwÉ's style, the song below is composed predominantly of hi-hat. Vocal samples do account for some syncopated percussion, the bass is the only other rhythmic element of note. The unexpected, as it turns outm is a common theme. Released just over two weeks ago, "Os Filha da Fruta," is very much a dual-track collaboration in spite of its quaint length. Akin to the Black$ea Não Maya's September joints with Firma do Txiga and Tia Maria, "Os Filha da Fruta," consists of two separate parts, each claimed by the credited beat-makers. While both Dj's use the same song-head, they differ noticeably in approach. To Puto Wilson, the accordion which anchors the melody might as well be a piece of percussion. The vocals and free-reed instrument are one in the same. For the sake of variety, Mix BwÉ adds what appears to be a dunun and a second, harmonic accordion.
- John Noggle
Conversely, a detective is only as good as the mysteries he - or, to be fair, she - has solved.
The mythical investigator promoted by popular culture only pretends to possess perfunctory problem-solving...skills. Yet detective work requires more than a bent-apple pipe. An affinity for distinguishing the elementary from the intermediary is helpful, but not required. While on the subject of job description adaptability, tobacco can indeed must be substituted for a lollipop. Regardless, each case must be taken independently from the rest. And most importantly - whether obliged by duty, reward, or sheer morbidity of interest - the best detective cannot rest until the mystery at hand is no longer.
Unless of course technology is somehow involved.
G.K. Chesterton wrote many a tale. The detective tales of little, old Catholic priest Father Brown were by far the most prevalent in the Englishman's cannon; and for good reason. Aside from the fact that Father Brown sidekick was previously the greatest criminal in the world, he could also spin a phrase. Among them was the saying that, "No machine can lie [...] nor can it tell the truth." Now, the mysteries of both Mix BwÉ and Puto Wilson have been covered. More over, the words in question are located inside of the internet. Using the good clergyman's knowledge, perhaps the technological unknown is best left unexplored.
In the mean time, though, why not enjoy the sounds of Mix BwÉ and Puto Wilson?
What follows is a mid-tempo kuduro. But while "Os Filha da Fruta," has a familiar beat, the rhythm section is minimal. In stark contrast to Mix BwÉ's style, the song below is composed predominantly of hi-hat. Vocal samples do account for some syncopated percussion, the bass is the only other rhythmic element of note. The unexpected, as it turns outm is a common theme. Released just over two weeks ago, "Os Filha da Fruta," is very much a dual-track collaboration in spite of its quaint length. Akin to the Black$ea Não Maya's September joints with Firma do Txiga and Tia Maria, "Os Filha da Fruta," consists of two separate parts, each claimed by the credited beat-makers. While both Dj's use the same song-head, they differ noticeably in approach. To Puto Wilson, the accordion which anchors the melody might as well be a piece of percussion. The vocals and free-reed instrument are one in the same. For the sake of variety, Mix BwÉ adds what appears to be a dunun and a second, harmonic accordion.
- John Noggle
Traxman [Teklife] - "Nothing Stays the Same (Funk Bomb 2015 Snippet)"
If need be, Shiva would make a phenomenal fighter pilot.
In a hypothetical world where the gods must work, they would be be crazy not to consider every available option.
Plus, serving the nation is no shameful feat. One Julius Henry Marx may have stated that, "Military intelligence is a contradiction in terms," yet the alternative is equally compelling. With a tip of the hat to J. Robert Oppenheimer, the eleventh chapter of the Bhagavad Gita reads "Time I am, the great destroyer of worlds." Marx led the countryFreedonia into battle. But the bellicose bully named Shiva has four arms and a pet snake. Politics aside, Enola was gay with a lever or two. So if nothing else, that third eye can be put to some practical use (DJ Earl sure did).
Today, however, is a new day. And as the game of life continues, other players must be afforded their time. The turn in question belongs the Traxman; and by extension Diana Ross. Still, caution should be exercised. What follows is not merely footwork with female accompaniment. As a matter of fact, the song below ties in to the spirited discussion regarding the word of "funk" from earlier this week. Traxman is Teklife's resident envelope pusher. Incidentally the inciter is chief managed simplified the debate with a track of his own.
Below reader will find "Nothing Stays tha Same," one of a handful of outstanding beats Corky Strong has released this week alone. And much to listeners chagrin, all of the tracks in question are unique in their own right. Still, similarities can be pointed out. All of the song in question, for instance, feature some form of soulful sample; whether Marvin Gaye or Minnie Riperton. But "Nothing Stays tha Same" remains different. With a break worth its weight in funky drummers, the Traxman begins an exercise in patience. The tune at hand surely invites dance, but it just as comfortable staying in for the night. After some fifty seconds, the introduction concludes with the work of tectonically shifting bass. Digital snare drums and hi-hats that normally occupy the sixteenth notes in juke do not appear until after the minute mark. Slowly but assuredly does "Nothing Stays tha Same" build up; at no point submitting to the tempo masters. By the time the vocals samples appear, they simply push the track over the edge.
If a subtitle is required, it might as well be "Nothing short of astonishing"
- John Noggle
In a hypothetical world where the gods must work, they would be be crazy not to consider every available option.
Plus, serving the nation is no shameful feat. One Julius Henry Marx may have stated that, "Military intelligence is a contradiction in terms," yet the alternative is equally compelling. With a tip of the hat to J. Robert Oppenheimer, the eleventh chapter of the Bhagavad Gita reads "Time I am, the great destroyer of worlds." Marx led the countryFreedonia into battle. But the bellicose bully named Shiva has four arms and a pet snake. Politics aside, Enola was gay with a lever or two. So if nothing else, that third eye can be put to some practical use (DJ Earl sure did).
Today, however, is a new day. And as the game of life continues, other players must be afforded their time. The turn in question belongs the Traxman; and by extension Diana Ross. Still, caution should be exercised. What follows is not merely footwork with female accompaniment. As a matter of fact, the song below ties in to the spirited discussion regarding the word of "funk" from earlier this week. Traxman is Teklife's resident envelope pusher. Incidentally the inciter is chief managed simplified the debate with a track of his own.
Below reader will find "Nothing Stays tha Same," one of a handful of outstanding beats Corky Strong has released this week alone. And much to listeners chagrin, all of the tracks in question are unique in their own right. Still, similarities can be pointed out. All of the song in question, for instance, feature some form of soulful sample; whether Marvin Gaye or Minnie Riperton. But "Nothing Stays tha Same" remains different. With a break worth its weight in funky drummers, the Traxman begins an exercise in patience. The tune at hand surely invites dance, but it just as comfortable staying in for the night. After some fifty seconds, the introduction concludes with the work of tectonically shifting bass. Digital snare drums and hi-hats that normally occupy the sixteenth notes in juke do not appear until after the minute mark. Slowly but assuredly does "Nothing Stays tha Same" build up; at no point submitting to the tempo masters. By the time the vocals samples appear, they simply push the track over the edge.
If a subtitle is required, it might as well be "Nothing short of astonishing"
- John Noggle
Thursday, November 13, 2014
Ravidson - "Tortura (Dj Suaviicox [R.S Produções] Remix)"
Ravidson is better than The Beatles.
Any and all comparisons to Migos, however, are still in the process of being reviewed.
Concerning the above claims, every element in is true The author does not possesses a single seed of speculative doubt of their factual certainty. Objectively speaking, any four blokes from Liverpool can pretend hold flags. The ability to spell "help" is a fair expectation to hold from the British education system. May the good Lord save this ship...
Although, not technically a part of the English language, the word "tortura," is much longer. Regardless, the feat in question far much more impressive. Not only is their a literal use of feet - among several other body parts - the models use nothing but biology to delineate a seven letter noun. And for what reason? Well, "Tortura" is the title of a single, credited to none other than a misspelled American college. Alas, Cape Verde born and Luxembourg raised Ravidson is, like those featured in the accompanying artwork, a person. For all intents and purposes Ravidson is not unlike a Portuguese speaking Davido. But that as it may, Ravidson is, in fact, able to sing.
Released in May, "Tortura" is typical kizomba. The overarching impression is one of utmost modernity. Miscellaneous features aside, during the track's four minutes length Ravidson gives a restraining, albeit captivating, show. As a result, the song is built around Ravidson's silken singing. While not exhibiting much power, the voice is exceptionally emotive. Whether a product of auto-tune or not, the vibrato heard below is duly noted. Of greater significant, though, is the backing track. "Tortura" spares no expense in accompaniment. With a beat is rooted in zouk, the structure is archetypal of popular music form. Regardless, the presentation is exquisite. A lush collection of synthesizer, acoustic & electric guitar, xylophone, and hand drums can be heard. A new bubblegum, perhaps, but the rhythm cannot be denied.
Onwards, then, to remix artist and prolific mix creator Dj Suaviicox; coming off a very good, vaguely grime themed release. As was the case on his remix of Damagical's "Bella Me Tarraxa" no attempt is made to alternate genres. Integrity for the "Tortura" escapes unscated. In fact, the structure of the song is not changed at all. Instead, Suaviicox re-imagines "Tortura" with a juiced up zouk beat of his own creation. Immediately following the song's onset a dosage of snare-hi hat-kick is injected. The incurably sticky synth from the original is now accompanied by a rhythm section friendler to the dancefloor than radio speakers. But while claps can also heard as part of the improved rhythm, Suaviicox does not limit himself to percussion. Of note is the additional synthesizer harmony added to differentiate between the two songs. Still, the biggest contrast between this song and the succesful Damagical remix is in empty space. With absence of PDDG's Dadifox and passable mastering is a forlorn tale.
- John Noggle
Any and all comparisons to Migos, however, are still in the process of being reviewed.
Concerning the above claims, every element in is true The author does not possesses a single seed of speculative doubt of their factual certainty. Objectively speaking, any four blokes from Liverpool can pretend hold flags. The ability to spell "help" is a fair expectation to hold from the British education system. May the good Lord save this ship...
Although, not technically a part of the English language, the word "tortura," is much longer. Regardless, the feat in question far much more impressive. Not only is their a literal use of feet - among several other body parts - the models use nothing but biology to delineate a seven letter noun. And for what reason? Well, "Tortura" is the title of a single, credited to none other than a misspelled American college. Alas, Cape Verde born and Luxembourg raised Ravidson is, like those featured in the accompanying artwork, a person. For all intents and purposes Ravidson is not unlike a Portuguese speaking Davido. But that as it may, Ravidson is, in fact, able to sing.
Released in May, "Tortura" is typical kizomba. The overarching impression is one of utmost modernity. Miscellaneous features aside, during the track's four minutes length Ravidson gives a restraining, albeit captivating, show. As a result, the song is built around Ravidson's silken singing. While not exhibiting much power, the voice is exceptionally emotive. Whether a product of auto-tune or not, the vibrato heard below is duly noted. Of greater significant, though, is the backing track. "Tortura" spares no expense in accompaniment. With a beat is rooted in zouk, the structure is archetypal of popular music form. Regardless, the presentation is exquisite. A lush collection of synthesizer, acoustic & electric guitar, xylophone, and hand drums can be heard. A new bubblegum, perhaps, but the rhythm cannot be denied.
Onwards, then, to remix artist and prolific mix creator Dj Suaviicox; coming off a very good, vaguely grime themed release. As was the case on his remix of Damagical's "Bella Me Tarraxa" no attempt is made to alternate genres. Integrity for the "Tortura" escapes unscated. In fact, the structure of the song is not changed at all. Instead, Suaviicox re-imagines "Tortura" with a juiced up zouk beat of his own creation. Immediately following the song's onset a dosage of snare-hi hat-kick is injected. The incurably sticky synth from the original is now accompanied by a rhythm section friendler to the dancefloor than radio speakers. But while claps can also heard as part of the improved rhythm, Suaviicox does not limit himself to percussion. Of note is the additional synthesizer harmony added to differentiate between the two songs. Still, the biggest contrast between this song and the succesful Damagical remix is in empty space. With absence of PDDG's Dadifox and passable mastering is a forlorn tale.
- John Noggle
Wednesday, November 12, 2014
Dj b.boy [TMP] - "Não Vacila" & "Lágrimas"
Against the author's better judgement, words akin to a lede are presented below.
The reason for resistance is thus: Dj b.boy has been, and continues to be, on a tear. Since Summer's end, this beat-maker has not released a single unsatisfactory tune. Yes, b.boy is just one of the Djs that make up Tia Maria Produções. But the good Producer's output merits comparison to the larger corpus of Lisbon based producers. Where frankness is concerned: b.boy has discovered a formula, and it works well.
Regardless of context, the material is exemplary. Granted, b.boy's sound is closer to global bass than his contemporaries. Still, b.boy is no mere derivation. This is not a Dj produced from a recent reduction of popular taste. Soft textures and rounded kizomba corners hardly dull any track's edge. Instead the flexibility to work with pop sensibilities is only bound to develop is wider audience base.
Surely the author's intentions stop short of decrying water treading in a pool of creative stagnation. Moreover, to say b.boy's output has been good overlooks he has been consistent. In a sign of growing comfort with bass frequencies, more deep melodies are found therein. What follows is not exception to this growing standard.
Released two weeks ago, "Não Vacila" is a slow batuco with tarraxinha tendencies. Of miniscule, albeit intriguing, importance is a sound made by b.boy's voice. It is on "Não Vacila," after all, that b.boy adds a new adlib/tag to his stable. In addition to, "Já não vamos á morrer" listeners can expect to hear the Dj himself shout "Boom!" Though easily dismissed, the solitary word provide a cue; otherwise adding a certain 'pop' between sections without a crash cymbal. Content wise, the track is surprisingly sparse by TMP standards. Two vocal samples engage in call and response while the kick-snare beat carrier on. Close to "Italiana" in duration and concept, "Não Vacila" is ultimately an experiment in minimal changes. Other than a slight percussion adjustment and a brief fit of stop-time the song remains largely unchanged.
No exact address is listed for what follows. Instead, directions can be provided care of some familiar landmarks. The track in question, after all, resides somewhere within the Venn Diagram of tarraxinha and kizomba. For all intents and purposes, then, "Lágrimas" can be classified as a kirracho. As was the case with "Lips," the tempo is slow. But while listeners will not find any flamboyant drum patters. Rhythmically the song is quaint but qualitative kick-snare-hi hat. In place of percussive elaboration, however, are a collection of synths; three to be precise. The structure is predictably pop friendly as well: verse-chorus-verse-chorus-bridge. Despite the elaborate melodic creation, the bass is not ignored at all but neither does it overshadow b.boy's other accomplishments.
Ultimately, the streak continues.
- John Noggle
The reason for resistance is thus: Dj b.boy has been, and continues to be, on a tear. Since Summer's end, this beat-maker has not released a single unsatisfactory tune. Yes, b.boy is just one of the Djs that make up Tia Maria Produções. But the good Producer's output merits comparison to the larger corpus of Lisbon based producers. Where frankness is concerned: b.boy has discovered a formula, and it works well.
Regardless of context, the material is exemplary. Granted, b.boy's sound is closer to global bass than his contemporaries. Still, b.boy is no mere derivation. This is not a Dj produced from a recent reduction of popular taste. Soft textures and rounded kizomba corners hardly dull any track's edge. Instead the flexibility to work with pop sensibilities is only bound to develop is wider audience base.
Surely the author's intentions stop short of decrying water treading in a pool of creative stagnation. Moreover, to say b.boy's output has been good overlooks he has been consistent. In a sign of growing comfort with bass frequencies, more deep melodies are found therein. What follows is not exception to this growing standard.
Released two weeks ago, "Não Vacila" is a slow batuco with tarraxinha tendencies. Of miniscule, albeit intriguing, importance is a sound made by b.boy's voice. It is on "Não Vacila," after all, that b.boy adds a new adlib/tag to his stable. In addition to, "Já não vamos á morrer" listeners can expect to hear the Dj himself shout "Boom!" Though easily dismissed, the solitary word provide a cue; otherwise adding a certain 'pop' between sections without a crash cymbal. Content wise, the track is surprisingly sparse by TMP standards. Two vocal samples engage in call and response while the kick-snare beat carrier on. Close to "Italiana" in duration and concept, "Não Vacila" is ultimately an experiment in minimal changes. Other than a slight percussion adjustment and a brief fit of stop-time the song remains largely unchanged.
No exact address is listed for what follows. Instead, directions can be provided care of some familiar landmarks. The track in question, after all, resides somewhere within the Venn Diagram of tarraxinha and kizomba. For all intents and purposes, then, "Lágrimas" can be classified as a kirracho. As was the case with "Lips," the tempo is slow. But while listeners will not find any flamboyant drum patters. Rhythmically the song is quaint but qualitative kick-snare-hi hat. In place of percussive elaboration, however, are a collection of synths; three to be precise. The structure is predictably pop friendly as well: verse-chorus-verse-chorus-bridge. Despite the elaborate melodic creation, the bass is not ignored at all but neither does it overshadow b.boy's other accomplishments.
Ultimately, the streak continues.
- John Noggle
Tuesday, November 11, 2014
Dadifox [PDDG] - "Bela vai Descendo (Montagem Funk 2k14)"
It is said that a rose, called by any other name, smells equally sweet as the original.
Be that as it may, the Bard was no florist.
Far from a literary authority, the author has no qualms in stating that Avon's native son was a man (probably borne of woman). Being a living, sentient creature, this individual possessed talents; presumably more than one. Chief among ol' Bill's abilities, though, was not botany. The principle above is sufficient when applied to Romeo and Juliet. But in the real world, a sonnet holds far less clout. Not all thumb biting ends in ruthless street crawls. Some good can indeed come from the occasional masquerade parties. Most importantly: no good has ever come from a man named Mercutio.
Still, writing was in fact one facet of life in which Shakespeare can be considered proficient. Lines such as, “O teach me how I should forget to think," must be attributed to somebody.
It might not seem so immediate, but Shakespeare's general floral dictum appropriate when applied to the new Dadifox song. Given that the word "funk" is in the track's title, presumption might guide a listener towards thinking no secrets are being kept. The song's identity is in its name. Alas, what follows is far from a sly family affair. Likewise, where funk is concerned, focus is not shifted westward, away from the sun. Other than four letters, the new Dadifox beat has little in common with either funk carioca or rasterinha. Furthermore, any reader expecting blatant genre mixture must turn elsewhere (see: KarFox's "Mix KuTechno Vibez").
Yet for all of its deception, the use of the word "funk" is purposeful. Consider an August Dj MarinO titled and delightfully stylized "Funk VS MoOzart." The song below follows in a similar vein; for all intents and purposes "Bela vai Descendo (Montagem Funk 2k14)" is a mash-up. Two or more finished elements are placed in proximity to each other with the intention of creating a novel result. In a sense the aesthete is not unlike Bmore club or hip-hop. Regardless, the end product in this particular instance in very unique.
Which is not to say Dadifox is a stranger to remixes. Perhaps it is in spite of this that what can be heard below is so appealing. Although released three weeks ago today, it cannot be definitely said that "Bela vai Descendo (Montagem Funk 2k14)" has any fixed style. In the case of his "Joana (Edit 2k14)" Dadifox paid homage to the track's kuduro nature. Likewise, with respect to "Chinchivi (Afro Latino 2014)" the song takes on a form of a batida; albeit one that relies on the source material to a healthy degree. This is precisely what makes "Bela vai Descendo (Montagem Funk 2k14)" so novel. The beat is largely devoid of drums. Driven primarily by vocal samples - separate from the unavoidable presence of Os Detroia - the song features a multitude of sounds; including but not limited to two more vocal elements. Moreover, the rhythm possesses a decidedly Latin feeling; the time signature does stand to resemblance 6/8. Where samples are concerned, both flutes and whistles have been heard just not in this form; the saxophone, too, is a nice touch.
At the time of publication, the author admits to still being gleefully unaware of what exactly "Bela vai Descendo (Montagem Funk 2k14)" is; nonetheless, well deserved fascination with the song persists.
- John Noggle
Be that as it may, the Bard was no florist.
Far from a literary authority, the author has no qualms in stating that Avon's native son was a man (probably borne of woman). Being a living, sentient creature, this individual possessed talents; presumably more than one. Chief among ol' Bill's abilities, though, was not botany. The principle above is sufficient when applied to Romeo and Juliet. But in the real world, a sonnet holds far less clout. Not all thumb biting ends in ruthless street crawls. Some good can indeed come from the occasional masquerade parties. Most importantly: no good has ever come from a man named Mercutio.
Still, writing was in fact one facet of life in which Shakespeare can be considered proficient. Lines such as, “O teach me how I should forget to think," must be attributed to somebody.
It might not seem so immediate, but Shakespeare's general floral dictum appropriate when applied to the new Dadifox song. Given that the word "funk" is in the track's title, presumption might guide a listener towards thinking no secrets are being kept. The song's identity is in its name. Alas, what follows is far from a sly family affair. Likewise, where funk is concerned, focus is not shifted westward, away from the sun. Other than four letters, the new Dadifox beat has little in common with either funk carioca or rasterinha. Furthermore, any reader expecting blatant genre mixture must turn elsewhere (see: KarFox's "Mix KuTechno Vibez").
Yet for all of its deception, the use of the word "funk" is purposeful. Consider an August Dj MarinO titled and delightfully stylized "Funk VS MoOzart." The song below follows in a similar vein; for all intents and purposes "Bela vai Descendo (Montagem Funk 2k14)" is a mash-up. Two or more finished elements are placed in proximity to each other with the intention of creating a novel result. In a sense the aesthete is not unlike Bmore club or hip-hop. Regardless, the end product in this particular instance in very unique.
Which is not to say Dadifox is a stranger to remixes. Perhaps it is in spite of this that what can be heard below is so appealing. Although released three weeks ago today, it cannot be definitely said that "Bela vai Descendo (Montagem Funk 2k14)" has any fixed style. In the case of his "Joana (Edit 2k14)" Dadifox paid homage to the track's kuduro nature. Likewise, with respect to "Chinchivi (Afro Latino 2014)" the song takes on a form of a batida; albeit one that relies on the source material to a healthy degree. This is precisely what makes "Bela vai Descendo (Montagem Funk 2k14)" so novel. The beat is largely devoid of drums. Driven primarily by vocal samples - separate from the unavoidable presence of Os Detroia - the song features a multitude of sounds; including but not limited to two more vocal elements. Moreover, the rhythm possesses a decidedly Latin feeling; the time signature does stand to resemblance 6/8. Where samples are concerned, both flutes and whistles have been heard just not in this form; the saxophone, too, is a nice touch.
At the time of publication, the author admits to still being gleefully unaware of what exactly "Bela vai Descendo (Montagem Funk 2k14)" is; nonetheless, well deserved fascination with the song persists.
- John Noggle
Friday, November 7, 2014
Puto Wilson [C.N] - "A Volta do Puto Wilson"
Even in a sluggish economy the ghost market is perpetually booming.
Granted, some will consider this a untrue. To say that formless, shapeless, and colorless fear is constantly in demand seems foolish. The supply, however, is never in short stock. To be a ghost requires minimal of application requirements. No wonder the labor force is overwhelmed with fear. "Re: Entry-Level Ghost position; thank you for your interest in our firm. Were you, or have you ever been, alive?" Anyone who can truthfully answer yes to this question qualifies. Further regulation is plagued by undeniable shadows of a doubt.
But this in an era of accommodation and non-discrimination. Can there be a ghost that never was alive?
Allow the writing to turn elsewhere for answers; to a country, perhaps, with a Generalissimo in Ghost. It was, after all, the spanish playwright Miguel de Unamuno who reminded his fellow man that life is doubt. Is a life of certitude possible? Hardly, it seems, for "Faith without doubt is nothing but death." If nothing else, Spain will forever be known as the country with hallucinogenic toreadors.
Just over the Spanish-Portuguese border, just seven miles from Lisbon, in a place called Damaia, lives Puto Wilson. Where the beatmaker himself is concerned, though, not much more can be said. Fittingly, of course, considering Wilson's loyalty is aligned with the mysterious Avessos Recordz. Otherwise, the author might feel free to question the liberty taken calling a debut track 'The Return of [...].
As far as content is concerned, "A Volta do Puto Wilson" was released two weeks ago. The song is a batida in nature and standard where tempo is concerned. But the truth about "A Volta do Puto Wilson" is that it is only ordinary is appearance. Substantially, Puto Wilson chooses to build a build around only a hi-hat and kick drum, but compensates by utilizing multiple patterns therein. While bass is largely absent, the synth is dynamic enough to merit a comparison to a different Puto's usage. Vocals and what sound akin to djembe take charge of syncopation in this A-B-C-A track. If nothing else, a promising effort with few genuinely negative aspects to it.
- John Noggle
Granted, some will consider this a untrue. To say that formless, shapeless, and colorless fear is constantly in demand seems foolish. The supply, however, is never in short stock. To be a ghost requires minimal of application requirements. No wonder the labor force is overwhelmed with fear. "Re: Entry-Level Ghost position; thank you for your interest in our firm. Were you, or have you ever been, alive?" Anyone who can truthfully answer yes to this question qualifies. Further regulation is plagued by undeniable shadows of a doubt.
But this in an era of accommodation and non-discrimination. Can there be a ghost that never was alive?
Allow the writing to turn elsewhere for answers; to a country, perhaps, with a Generalissimo in Ghost. It was, after all, the spanish playwright Miguel de Unamuno who reminded his fellow man that life is doubt. Is a life of certitude possible? Hardly, it seems, for "Faith without doubt is nothing but death." If nothing else, Spain will forever be known as the country with hallucinogenic toreadors.
Just over the Spanish-Portuguese border, just seven miles from Lisbon, in a place called Damaia, lives Puto Wilson. Where the beatmaker himself is concerned, though, not much more can be said. Fittingly, of course, considering Wilson's loyalty is aligned with the mysterious Avessos Recordz. Otherwise, the author might feel free to question the liberty taken calling a debut track 'The Return of [...].
As far as content is concerned, "A Volta do Puto Wilson" was released two weeks ago. The song is a batida in nature and standard where tempo is concerned. But the truth about "A Volta do Puto Wilson" is that it is only ordinary is appearance. Substantially, Puto Wilson chooses to build a build around only a hi-hat and kick drum, but compensates by utilizing multiple patterns therein. While bass is largely absent, the synth is dynamic enough to merit a comparison to a different Puto's usage. Vocals and what sound akin to djembe take charge of syncopation in this A-B-C-A track. If nothing else, a promising effort with few genuinely negative aspects to it.
- John Noggle
DJ K30 [Txiga Pro] - "Estilo Itália Parte 2"
The Spaghetti Westerns is not a hip, culinary fusion.
More surprising even: these films exist without the imposing presence of a young, gruff chair talker in his prime.
And so, to the year 1966 whence the Italian public is presumably clamoring for a wilder west. Suddenly, a ten-gallon hero bursts onto the screen . His name? Well, it is none other than Burt Reynolds. Sure, a hacky, ten-cent Dan Brown bestseller - one which revolves mostly around conspiracy prone co-star Nicoletta Machiavell - could be half-wittingly constructed, but it shall not. If nothing else, these pages are above such gimmicks.
As a matter of fact, what follows does not even concern the stars. Rather, it is the film's composer, Ennio Morricone, that is of interest. The theme to Navajo Joe rests neither within the maestro's pantheon of great songs, nor his collection of mediocre ones. Alas, the theme is far from ugly. It is, however, a different number that peaks the author's imagination today.
While the Dj in question is no stranger to geographically savvy song titles, the sudden Italian allusion is unexpected. A composer of film score this Firma do Txiga member is not. Yes, "Estilo Itália Parte 2" could be nothing more than a non-sequitur. Still, some reason must exist. Perhaps the source is more familiar. Consider Deejay Yudifox and "Italiano Remix". While statistically more likely, to call this quick kuduro and its resplendent horns the source of inspiration is a stretch. And so a movement towards friends of the group is made. The destination is Tia Maria Produções; specifically Dj b.boy and his song "Italiana"
What follows is not a remix. Released three days after "Italiana," a similarity does arise beyond respective titles. Like b.boy, K3O moved the tempo down from his normally quicker pace to a slower tarraxo feel. Both songs are subtle and play on miniscule arrangement changes for effect. Bass is a b.boy staple and K3O too continues his interest these frequencies. Ultimately, though, "Estilo Itália Parte 2" is very much its own song; and one which follows is Joe's style. The modest album-length track features a return to more typical drums sounds after recent preference otherwise. Higher pitched synth sounds are heard in the melody while a second synth plays not unlike a record player in reverse. Unorthodox but ideal for a track that, like a pair of Masters, blurs the line between a dance and a casual-listening. Djembe is heard at long last in the song's finals section. Prior to the conclusion, though, technical experiments reach beyond depth/echo. The straight song - constant progression trumping any potential loop - holds no shame in utilizing elements seemingly typical of techno. Another intriguing listen from this consistent outfit.
- John Noggle
More surprising even: these films exist without the imposing presence of a young, gruff chair talker in his prime.
And so, to the year 1966 whence the Italian public is presumably clamoring for a wilder west. Suddenly, a ten-gallon hero bursts onto the screen . His name? Well, it is none other than Burt Reynolds. Sure, a hacky, ten-cent Dan Brown bestseller - one which revolves mostly around conspiracy prone co-star Nicoletta Machiavell - could be half-wittingly constructed, but it shall not. If nothing else, these pages are above such gimmicks.
As a matter of fact, what follows does not even concern the stars. Rather, it is the film's composer, Ennio Morricone, that is of interest. The theme to Navajo Joe rests neither within the maestro's pantheon of great songs, nor his collection of mediocre ones. Alas, the theme is far from ugly. It is, however, a different number that peaks the author's imagination today.
While the Dj in question is no stranger to geographically savvy song titles, the sudden Italian allusion is unexpected. A composer of film score this Firma do Txiga member is not. Yes, "Estilo Itália Parte 2" could be nothing more than a non-sequitur. Still, some reason must exist. Perhaps the source is more familiar. Consider Deejay Yudifox and "Italiano Remix". While statistically more likely, to call this quick kuduro and its resplendent horns the source of inspiration is a stretch. And so a movement towards friends of the group is made. The destination is Tia Maria Produções; specifically Dj b.boy and his song "Italiana"
What follows is not a remix. Released three days after "Italiana," a similarity does arise beyond respective titles. Like b.boy, K3O moved the tempo down from his normally quicker pace to a slower tarraxo feel. Both songs are subtle and play on miniscule arrangement changes for effect. Bass is a b.boy staple and K3O too continues his interest these frequencies. Ultimately, though, "Estilo Itália Parte 2" is very much its own song; and one which follows is Joe's style. The modest album-length track features a return to more typical drums sounds after recent preference otherwise. Higher pitched synth sounds are heard in the melody while a second synth plays not unlike a record player in reverse. Unorthodox but ideal for a track that, like a pair of Masters, blurs the line between a dance and a casual-listening. Djembe is heard at long last in the song's finals section. Prior to the conclusion, though, technical experiments reach beyond depth/echo. The straight song - constant progression trumping any potential loop - holds no shame in utilizing elements seemingly typical of techno. Another intriguing listen from this consistent outfit.
- John Noggle
Thursday, November 6, 2014
DJ Set I can't ado much about - DeeJay KarFox [K.Z.A. Crew] "Mix KuTeChno Vibez"
Not all synthetic combinations need induce terror. Ears of GMO corn have great potential; insofar as scientists maintain their conservatively figurative approach whilst interpretating the term 'ear'
But though unnatural, these creations are hardly inherently horrifying human hybrids.
For all their frightening appearance, mythical mash-ups serve a practical purpose. It was Guillermo del Toro and his man-goat friend that taught all the world Spanish farms are best appreciated at a distance. In this sense, centaurs might as well be viewed as a beacons of the future just as much as relics of the past. Perhaps because of these man-horses, reform will one-day come to the scourge of jockey-based thoroughbred racing. Still, read this no, as a full endorsement of creatures praised for their skill and magic. Mythical marvels are sovereign of the animal kingdom's rule and should be confined to the realm of decorative statues and proto-home security creations.
This is not, however, a lesson is paranormal biology and ethics. And In a week full of "DJ Set I can't ado much about" what follows is still noteworthy.
Enter DeeJay Karfox; a proverbial mixture of fast and slow numbers (and potentially a transformer). Based in Amadora, this K.Z.A. affiliated producer is only eight miles from Lisbon proper but might as well live half a world away. Yes, Carlos Stress Soundzz has worked within his scene. Among those who have collaborated with KarFox is Dj Zulox. But more than a geography lesson, what this DJ provides is imagination. Sure, these pages have witnessed intriguing concoctions. Past experiments in rock and kuduro, classical and kudro, and even recently footwork and funana have all been addressed. Yet this DJ is unique; Karfox's product sounds neither forced nor unnecessary. Instead, idiosyncrasy often taken for granted are addressed. Regardless of a given author's style - just as well the nature in his genre of choice - beats out of Lisbon tend to feature succinct, mechanical samples. So instead of kowtowing to breakbeat and juke comparisons, KarFox turns to Detroit (which in hindsight seems obvious when rereading the good DeeJay's name). As a result comes the term KuTechno; first having appeared approximately a year ago care of, well...KarFox.
What can be found below is tautology: "Mix KuTeChno Vibez" is, in fact, an accurate representation of what can be heard. After some thirty-seconds of competition, opposing factions lay down their arms. A compromise is harmoniously and full of soul. Within the span of a minute, the competing kuduro and techno beats combine to form a single groove. The result is captivating. Despite being brief in duration - the length being a total of six minutes - "Mix KuTeChno Vibez" possesses the excitement and technicality of a live set (influenced in part by the affixed picture). Although a quick tempo is maintained throughout, KarFox is apt at incorporating enviably thick basslines into his breaks in addition to occasionally exotic percussion. But beyond form and style, this mix simply sounds fun. Maybe the techno aesthetic is aged and limited. Irrespective, though, a willingness to experiment and learn is clearly present; the audience is merely richer for it.
Moreover, where subjectivity is concerned, the author is comfortable saying this has been played directly into his ears four times (so far) within the past twenty-four hours. Feel free to do the same.
- John Noggle
But though unnatural, these creations are hardly inherently horrifying human hybrids.
For all their frightening appearance, mythical mash-ups serve a practical purpose. It was Guillermo del Toro and his man-goat friend that taught all the world Spanish farms are best appreciated at a distance. In this sense, centaurs might as well be viewed as a beacons of the future just as much as relics of the past. Perhaps because of these man-horses, reform will one-day come to the scourge of jockey-based thoroughbred racing. Still, read this no, as a full endorsement of creatures praised for their skill and magic. Mythical marvels are sovereign of the animal kingdom's rule and should be confined to the realm of decorative statues and proto-home security creations.
This is not, however, a lesson is paranormal biology and ethics. And In a week full of "DJ Set I can't ado much about" what follows is still noteworthy.
Enter DeeJay Karfox; a proverbial mixture of fast and slow numbers (and potentially a transformer). Based in Amadora, this K.Z.A. affiliated producer is only eight miles from Lisbon proper but might as well live half a world away. Yes, Carlos Stress Soundzz has worked within his scene. Among those who have collaborated with KarFox is Dj Zulox. But more than a geography lesson, what this DJ provides is imagination. Sure, these pages have witnessed intriguing concoctions. Past experiments in rock and kuduro, classical and kudro, and even recently footwork and funana have all been addressed. Yet this DJ is unique; Karfox's product sounds neither forced nor unnecessary. Instead, idiosyncrasy often taken for granted are addressed. Regardless of a given author's style - just as well the nature in his genre of choice - beats out of Lisbon tend to feature succinct, mechanical samples. So instead of kowtowing to breakbeat and juke comparisons, KarFox turns to Detroit (which in hindsight seems obvious when rereading the good DeeJay's name). As a result comes the term KuTechno; first having appeared approximately a year ago care of, well...KarFox.
What can be found below is tautology: "Mix KuTeChno Vibez" is, in fact, an accurate representation of what can be heard. After some thirty-seconds of competition, opposing factions lay down their arms. A compromise is harmoniously and full of soul. Within the span of a minute, the competing kuduro and techno beats combine to form a single groove. The result is captivating. Despite being brief in duration - the length being a total of six minutes - "Mix KuTeChno Vibez" possesses the excitement and technicality of a live set (influenced in part by the affixed picture). Although a quick tempo is maintained throughout, KarFox is apt at incorporating enviably thick basslines into his breaks in addition to occasionally exotic percussion. But beyond form and style, this mix simply sounds fun. Maybe the techno aesthetic is aged and limited. Irrespective, though, a willingness to experiment and learn is clearly present; the audience is merely richer for it.
Moreover, where subjectivity is concerned, the author is comfortable saying this has been played directly into his ears four times (so far) within the past twenty-four hours. Feel free to do the same.
- John Noggle
Wednesday, November 5, 2014
DJ set I can't ado much about - Dj locks "Mix de tarracho 2014"
The lock has been ripped. A forbidding iron gate now stands ominously open amid equally bleak scenery of leafless trees and formless shadows. It appears that only terror awaits the residents of this terrestrial dimension. Yog-sothoth, and the forces it is home to, now dictates mankind's fate. The occupation has begun once more.
Or perhaps not.
After all, Dj locks is hardly Cthulu. A renown photographer of his own chest he might be - which is not to imply exclusivity in the field - but an evil, elder entity locks is not. Plus, Dj locks has been much too busy for casual reading. To imagine that locks has possessed sufficient time to crack open the Necronomicon is preposterous. Jettison any remaining fantasy where this man is recreating his brand as an electronic mastermind laboring Lovecraftian love-songs. The truth appears much more plausible and easily half as dismal. But following the release of a recent song (which, technically speaking, is a chronological predecessor) Dj locks did reserve some elements of surprise in his favor.
A turn for the slow has been taken. With the release of "Mix de tarracho 2014" presents a genre morsel of. What follows is minimix, for all intents and purposes, containing a combination of vocal, more kizomba flavored tarrachos and instrumental, beat driven tracks; although the previous is significantly favored. The result is a collection of about five songs featuring the likes of Yudifox and TM Produções. Transitions are seamless, the groove is of acceptable weight, and despite the strong influences of Western popular music, the listener need not strain for traditional sounds. Truthfully, this is not the worse way to spend seven and a half minutes.
- John Noggle
Or perhaps not.
After all, Dj locks is hardly Cthulu. A renown photographer of his own chest he might be - which is not to imply exclusivity in the field - but an evil, elder entity locks is not. Plus, Dj locks has been much too busy for casual reading. To imagine that locks has possessed sufficient time to crack open the Necronomicon is preposterous. Jettison any remaining fantasy where this man is recreating his brand as an electronic mastermind laboring Lovecraftian love-songs. The truth appears much more plausible and easily half as dismal. But following the release of a recent song (which, technically speaking, is a chronological predecessor) Dj locks did reserve some elements of surprise in his favor.
A turn for the slow has been taken. With the release of "Mix de tarracho 2014" presents a genre morsel of. What follows is minimix, for all intents and purposes, containing a combination of vocal, more kizomba flavored tarrachos and instrumental, beat driven tracks; although the previous is significantly favored. The result is a collection of about five songs featuring the likes of Yudifox and TM Produções. Transitions are seamless, the groove is of acceptable weight, and despite the strong influences of Western popular music, the listener need not strain for traditional sounds. Truthfully, this is not the worse way to spend seven and a half minutes.
- John Noggle
Tuesday, November 4, 2014
Dj locks - "Batida Dos Arabes"
Good secrets are hard to keep. Great secrets are a scientific impossibility - by definition, everyone already knows about it.
In short order, this author is no depository for confidential information. With the mere of an pedestrian W. Mark "fe-cret", this author is overwhelmed by sensation deep within his throat. Chords begin to tickle; the tongue profusely sweats. Still enigmas and confidences play a hallowed role in society. Where, for example, can a prolific 1960s Teamsters leader be found? Any guess is as good as any other guess. Wish to turn the white house red with anger? Try writing but some anonymous sentences about a certain Persian nuclear program. Otherwise, turn to Ed Snowden and ask him how easy it is to develop a taste for borscht.
The point being that no matter how forbidden the fruit might be, a reptile with an unhinged jaw is mighty persuasive.
Such is the nature of Dj locks - decidedly more secret than serpent. A Black$ea Não Maya affiliate, this Almada based beat-maker wears two hats. From south of the River Tejo, the first cranial accessory Dj locks wears is that of, well, a Dj. His inclination leans toward ten and twenty minute mixes. The second hat, though, is much more interesting. In addition to acting as a party engineer, Dj locks produces original sounds. His songs are rhythmic and fast; very, very fast. Where standards are concerned, a Dj locks tracks will feature one or two vocal samples. Yet the truth is far less generic.
Dj locks does have a style all of his own. More so than his contemporaries, locks is willing to exploit overlaps between his beats and 'global electronic dance' sounds. Once the groove is found, it is not adjusted. The length of samples are not comparatively shorter than those of other Djs. Locks sample, though, adorn the beat more so than drive it. Listeners with a craving for footwork must look no further than the bass: rich, pounding, and never susceptible to substitution. Give this funana, which features a portion of Os Detroia's single, a spin or two.
Released just last week, "Batida dos Arabes" is fast. But this song showcases more than simple speed. As the title suggests, the album length production does not fit into a single genre. Rather, Dj locks incorporates a collection of ideas into a single track (hardly a new concept). Immediately of note is the beat, of which there are ultimately three (maybe four?) variations. While the snare+hi hat combination is reminiscent of kuduro, the djembe working on first and third beats sounds; vaguely like batuco. Following three false starts care of the song's predominating guitar, as well as a bar of anticipation afterwards, the first section begins. Most intriguing portion, however, begins just past the ninety-second mark. Although "Batida dos Arabes" features a plethora of sounds - strings, multiple vocals, and synth all being heard at different times - it is how the manner in which the guitar is used that merits attention. After sharing the melodic limelight with a melodica, the six-stringed tool of the troubadour switches to rhythmic duties.
"Batida Dos Arabes" is a dense dance track and even more can be done on the tune's structure. Regardless, a solid effort in every respect.
- John Noggle
In short order, this author is no depository for confidential information. With the mere of an pedestrian W. Mark "fe-cret", this author is overwhelmed by sensation deep within his throat. Chords begin to tickle; the tongue profusely sweats. Still enigmas and confidences play a hallowed role in society. Where, for example, can a prolific 1960s Teamsters leader be found? Any guess is as good as any other guess. Wish to turn the white house red with anger? Try writing but some anonymous sentences about a certain Persian nuclear program. Otherwise, turn to Ed Snowden and ask him how easy it is to develop a taste for borscht.
The point being that no matter how forbidden the fruit might be, a reptile with an unhinged jaw is mighty persuasive.
Such is the nature of Dj locks - decidedly more secret than serpent. A Black$ea Não Maya affiliate, this Almada based beat-maker wears two hats. From south of the River Tejo, the first cranial accessory Dj locks wears is that of, well, a Dj. His inclination leans toward ten and twenty minute mixes. The second hat, though, is much more interesting. In addition to acting as a party engineer, Dj locks produces original sounds. His songs are rhythmic and fast; very, very fast. Where standards are concerned, a Dj locks tracks will feature one or two vocal samples. Yet the truth is far less generic.
Dj locks does have a style all of his own. More so than his contemporaries, locks is willing to exploit overlaps between his beats and 'global electronic dance' sounds. Once the groove is found, it is not adjusted. The length of samples are not comparatively shorter than those of other Djs. Locks sample, though, adorn the beat more so than drive it. Listeners with a craving for footwork must look no further than the bass: rich, pounding, and never susceptible to substitution. Give this funana, which features a portion of Os Detroia's single, a spin or two.
Released just last week, "Batida dos Arabes" is fast. But this song showcases more than simple speed. As the title suggests, the album length production does not fit into a single genre. Rather, Dj locks incorporates a collection of ideas into a single track (hardly a new concept). Immediately of note is the beat, of which there are ultimately three (maybe four?) variations. While the snare+hi hat combination is reminiscent of kuduro, the djembe working on first and third beats sounds; vaguely like batuco. Following three false starts care of the song's predominating guitar, as well as a bar of anticipation afterwards, the first section begins. Most intriguing portion, however, begins just past the ninety-second mark. Although "Batida dos Arabes" features a plethora of sounds - strings, multiple vocals, and synth all being heard at different times - it is how the manner in which the guitar is used that merits attention. After sharing the melodic limelight with a melodica, the six-stringed tool of the troubadour switches to rhythmic duties.
"Batida Dos Arabes" is a dense dance track and even more can be done on the tune's structure. Regardless, a solid effort in every respect.
- John Noggle
DJ Set I can't ado much about - Dj Rogii "Funaná do Ghetto"
A nice meal is best conducted with parameters.
The consumption of good food, for example, is best enjoyed with even better company. Fine bottles of wine also work wonders in the realm of private home entertainment. The culinary possibilities are endless. Alas, shortcuts are sought, and with any luck, found with ease. Enter fava beans: love them or hate them, the consensus says they pair well with a nice Chianti.
But perhaps oversized, green Spanish legumes and Carthaginian general doppelgangers are not the ideal dinner party. Methods of nutrition do vary from person to person. Fortunately, tastes are subject to change. And while wine recommendations are hardly the author's forté, what follows is an inoffensive suggestion. Moreover it can be said free of controversy that it pairs well with last week's "Rapicada so pa Baxu."
The reason for the above claim is quite simple: as was the case Dj Wilson & Dj Mika, DJ Rogii put together a brief collection of funaná music. Granted, the timing of this post is less than chronological. These two mixes, though, differ in more than a four month calendar disparity and a three song differential. On "Funaná do Ghetto" Rogii focuses more on the electronic variant of the genre as opposed to proper band recordings. Transitions are seamless and inventive; and while plenty of accordion is heard, diversity is not altogether absent. No setlist is provided; inconvenient, but no obstacle to enjoyment.
The key to unlock the door obstructing fun, after all, is to check coat and prerogative at the door. Funaná is merely an excellent facilitator.
- John Noggle
The consumption of good food, for example, is best enjoyed with even better company. Fine bottles of wine also work wonders in the realm of private home entertainment. The culinary possibilities are endless. Alas, shortcuts are sought, and with any luck, found with ease. Enter fava beans: love them or hate them, the consensus says they pair well with a nice Chianti.
But perhaps oversized, green Spanish legumes and Carthaginian general doppelgangers are not the ideal dinner party. Methods of nutrition do vary from person to person. Fortunately, tastes are subject to change. And while wine recommendations are hardly the author's forté, what follows is an inoffensive suggestion. Moreover it can be said free of controversy that it pairs well with last week's "Rapicada so pa Baxu."
The reason for the above claim is quite simple: as was the case Dj Wilson & Dj Mika, DJ Rogii put together a brief collection of funaná music. Granted, the timing of this post is less than chronological. These two mixes, though, differ in more than a four month calendar disparity and a three song differential. On "Funaná do Ghetto" Rogii focuses more on the electronic variant of the genre as opposed to proper band recordings. Transitions are seamless and inventive; and while plenty of accordion is heard, diversity is not altogether absent. No setlist is provided; inconvenient, but no obstacle to enjoyment.
The key to unlock the door obstructing fun, after all, is to check coat and prerogative at the door. Funaná is merely an excellent facilitator.
- John Noggle
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