Term Paper, Vol. 3 (a.k.a. Big Post of Zouk songs, Vocals)

Part 1 can be found here
Part 2 can be found here

Never stop making love to the camera.

Why should Gloria Swanson have all the fun? Everyone is ready for a close-up, Mr. Demille!

At any rate, auteurs are overrated. Creative effort are complete without the use of a muse. Inspiration is key, see, not something worth any amount of hurry. In the absence of a model a painting becomes mere scenery; sans Mona Lisa, Leonardo is nothing more than a ten-fingered brush holding utensil. Even Coltrane had a cousin, daughter, wife, and bass player to shower with song. But most impressive is that the use of stand-ins, body doubles, and mannequins are of even of great use to elites. Jesus was not exempt from artistic representation; the white image of Christ, if one were so inclined to believe the a Killah Priest, might just be Cesare Borgia.

Such is the case with beats. The drums and the run provide the canvas; shapes are outlined outlines which performers then fill-in with their their words Alas, blurring of the line between electronic music and hip-hop serves two purposes. Enjoying instrumentals, for example, have become more common place. The likes of Clams Casino, Young Chop, and DJ Mustard have been on the forefront of just such a phenomenon. It seems as though beat-maker stylings are no longer limited to the imposing figures such as DJ Shadow, Cut Chemist, DJ Premier, and Pete Rock. Regardless of the source, an issue still exist. While pleasant to hear on their own, beats are still just half a product; one member of a duet. Instrumentals deprive the audience fifty percent of the musical experience experience. No one, save for a producer, would stand for only acapella versions of a song. 

So why should these pages' readers be exposed to just this misfortune?

As the year quickly draws to a close, so does thi Noggle year-end series. Three parts have now been written; each receiving a special focus in the process. In the first installment, a history lesson was provided. This was followed by an examination of the recent instrumental soundscape. Ergo, what follows is the only natural conclusion the author could determine under the assistance of his own faculties.The third portion is a selection of [somewhat] somewhat arbitrarily chosen Ghetto Zouk tracks with feature vocals (h/t Mais Kizomba).

The beat is undeniably of a slow zouk nature. Auto-tuned, too, vocals cannot be ignored. Yet what results is slightly more that a simple, modern kizomba. Released two weeks ago, "Eu Quero Fazer" features Deedjay Telio on the track and Edsong on vocals; though it bears mentioning that latter is a kizomba producer in his own right. Where the beat is concerned, the Tia Maria affiliated Telio immediately adjusts the lights in order to intimate setting. Close-quartered romance is create care of a bongo-centric beat. But he sounds of a drum kit can still be heard as the kick plays four to the floor. Two synths create a ghetto zouk feel while piano elaborates the melody. Eventually a third synth appears, but only in the midst of each of the song's three choruses. Meanwhile, Edsong sings two offsettings. While he first verse is sung in a dramatic zouk-love/kizomba fashion, the second is not. Instead Edsong switches to a rapping before the Chorus-Bridge-Chorus concludes the song.


Angolan zouk singer Master Jake takes a different approach on "Não Quero Mais." With a faster pace, the song devoid of a production credit song; alas, a very good premise for vocalist to perform  is provvided all the while. In the first part of a two-tiered introduction, four-bars instrumental introduce an ambient synth: the harmonic base. Meanwhile, keys entertain melodic possibilities. But it is during the second section that the audience is urged to actively listen. From inception, the infectious kick/hi-hat rhythm rolls-on, at which point electric guitar appears; the first of two traditional instruments. Even if the bass maintains a four-to-the-floor appearance during the track's two verses, it opens up the groove during the chorus. Additionally, the hook portion features a resurgent synth effort and faint xylophone. Kizomba vocal stylings are maintained by the Zonemuzic artist throughout this very good zouk, which would only stand to benefit from shortening the four final chorus loops.


Lil Kiss is ambitious. A pop vocalist by trade, the Angolan artist has lent her likeness and talents to a variety of stylings. Kizomba, afro-house, and pop tracks are all found withinin the Lil Kiss cannon. Still, the ghetto-zouk song, "Abadibadjodjo," falls somewhere in between. Immediately inclined towards electornics, three synths them appear - one assigned to rhythm, melody and harmony - during the first part of a two-tiered introduction. The tempo moves at a quicker pace that the ordinary, but it does not become clear right away. Bongos are the only percussion warming up before digital drums take charge. The foundational  rhythm is made up by contemporary favorites: claps and hi-hat. Meanwhile, the sluggish bass and sultry R&B vocals provide an enjoyable malaise; some counterbalance, if nothing else, to a track the author estimates rest in the middle to upper 90s BPM range. Undeniable, in the end is the artist's determined crossover effort. Each chorus may be sung in portuguese, but the verses are all sung in English.



The final two selections are not intended to be read as scraping the bottom of the barrel. Rather, the renremainingts explored merely rest  below the immediate surface. Quality survives unscathed all the while.

First is Oseaias Gime. The song is titled "Te Amo," and even with absentee production credits, it merits a munition of accolades. A traditional zouk arrangement - gentle, romantic, and danceable like disco - is combined with more modern ghetto zouk techniques and an R&B singing. The beat may be created, typically enough, with snare and hi-hat but rapidly made plush A bongo plays triplets as shaker as to the big and busy sound. Only keyboards are heard at first, uet synth is soon to play alongside electric guitar. With the tempo on the slower end, bass has the same sensual effect as vocals runs; free from a significant auto-tune touch-up in addition to serving as ad-libs and back-up singers. A good effort not to be overlooked.


The final song bears the strongest to hip-hop. All of the percussion featured is digital; the somewhat quick beat is made up of hi-hat, snare and synth. But much like Oseias Gime's song above, Cleu combines the best of traditional zouk and kizomba with modern tastes and minimal auto-tune assistance. Synth may control the harmony, but an guitar commandeers the melody; neither is overshadowed by the respective counterpart. A second and third synth is only heard during the intro, bridge, and outro. The vocals are strongly influenced by R&B and provides additional ad-libbing and backing duties. Much like Lile Kiss - and once again, bearing a resemblance to "Te Amo" - English is freely dispersed throughout the lyrics sheet. In contrast to "Abadibadjodjo," however, all of the verses are in Portuguese while the chorus is in English.


Music, like film, is often mistaken to be an auteur for of expression. Certainly, the audience is exposed to a specific vision and intent but whose is it? Writers, actors, grips, make-up, costume-design and the like are all involved in the making of a motion picture. Rarely is the director the finished result's sole proprietor.

At times the vocals may be superior to the production, and vice versa. The true glory, though, is in the combination there of.

- John Noggle

Term Paper, Vol. 2 (a.k.a. Big Post of Zouk songs, Instrumental)

Part 1 found here

No perfect beat exists; it never has been and it never will be.

Flawless radio records are an illusion. Musicians must be urged to put down the Shakespeare. The present is nothing more than a dreamscape of soul-sonic sounds where boats are rowed and women stream gently, merrily even, across the dance floor. With any luck, the limpid lives of rhythmless of men are lovingly levied onto a new plane. Yet, the search for an idyllic beat is for naught. Perfection is proves to be perfectly elusive.

Like the myth of El Dorado, concert conquistadors forever seek an imaginary promised land. Evidently, the the perfect beat's payoff is worth the risk of never achieving satisfaction. Whether digging through dusty crates, unlocking new secrets on a drum machines, or learning fresh techniques with the band, the timeless expedition for a rhythmic Holy Grail endures. Humans, it turns are just that: flawlessly human. No temptation is too strong to ignore.. The decision becomes whether or not to participate; the only immortality provided by the fountain of youth is a never ending cliche. Imitations do arise from time to time. But in the end all forgeries fall from grace. Luckily, audiences benefit from this friendly, fruitful competition. New sounds are discovered are the while. Beats are improved; memories are forged

The perfect beat may just be the stuff that dreams are made of, but hardly will that keep anyone from trying to ascertain it. Below are just eight attempts at uncovering an unblemished zouk beat that screams, "perfection."

Although technically a brevemente, "DOr De C," could just as easily be considered a full song. Clocking just shy of two minutes, what follows is a zouk beat made up of two sections: introduction and body. Be that as it may, Puto Tito makes sure the single verse counts following a percussion-free intro. The drought of drums is brief. Kick and hi-hat make up the main rhythm while three pieces of percussion  - claves, cowbell, and drum - provide variation with to the bassline. Two synths are present; one subtly manages the harmony while a higher pitched melodic synth enjoys a four bar phrase. An imaginative song overall in spite of a bland impression.

Soon after, Dj WilliCox followed suit. Released a week after the Puto Tito track above, "Ghetto Zouk" is self explanatory. Similar to the producer's previous zouk beats, the nature is known; which is to say its identity is recognizable. Both melodic piano and harmonic synth are integral to "Ghetto Zouk." New, however, is a sedate beat made-up of claps and hi-hat. Even with the occasional crash, the overall track is soft enough to merit kizomba vocal stylings. All in all, the beat is pleasant listen and hardly monotonous. Listeners are rewarded beyond a very well mastered track with an A-B-A-C-A-Bridge-B-C making the track relevant up to the outro.


No large post on this site would be complete without at a passing mention of Tia Maria Produções. If LyCoOx is in some way relevant, though, bonus points are to be awarded; which happens to be the case at hand because Dance Mamba, too, has released a zouk beat. As is the be expected on the two-week old "Gangsta (Instrzouk)," synth is hot and heavy. Beginning with a short, three synth introduction, the track only improves with time. Central to the beat, as well, is a high pitched, four-beat electric guitar as the melody proves to be deep. No less than two synths are layered throughout the song, providing a rich arrangement in the proess. The rhythm follows suit a well. With a deceivingly simple snare/snap rhythm, transitions may appear to be the most rhythmically diverse portions. But LyCoOx is much more clever than the average DJ and sis able to hide a djembe fill on the fourth beats. Unfortunately, bass is easy to miss as well, and would would almost benefit from a boost. Alas, listeners are urged to stand by for the four-bar hip-hop interlude showcasing, if nothing else, that instrumentals can stand on their own too.


A day after the LyCoOx release, LeoBeatz enters the conversation with his own zouk. Titled "Ghettozouk Demo," no illusion is ever created. Synths are in abundance and tempo is slow: 92 BPM. But while similar in length and structure to the Puto Tito song above - essentially a brevemente - the beat ultimately the bears more in common with "Gangsta (InztrZouk)." The long, two-synth introduction - nearly a section unto itself, sets the tone early. Energy, much like the initial Tesla coil sounding synth. With a high-melody, emotions are easily stirred. The stage is set for a much more inflamed performance. Harmonic synth is ever-present, providing a cushion the kick-snare beats drive forward; the bass weighs heavy, but only as a rhythmic accent. Once the guitar is introduced in the final section the beat changes and dor what it is worth, each transition is unique. A good song about not much can be said

Then, for the second time this year, Dj Wayne and Dj NinOo join forces. Rather than work with an afro-house track, though, the Firma do Txiga beat-makers opt for a zouk beat. Despite a trend towards synth heavy "gangsta souzk" beats, "Sonhar Acordado" features more traditional instrumentation; distinct for a track just as slow as preceding selections. What can be heard is a a kizomba with a correspondingly romantic overton. Preference for acoustic guitar plays a contrast to the to both LeoBeatz and LyCoOx intention on lustful dancing rather than emotional swaying. With a kick/snare beat - save for the ride cymbal  hitch in the chorus and percussion in the second verse - the noticeably boosted bass serves in a percussive and harmonic role. Just prior to a long, fade-out loop of the chorus, Wayne and NinoO do ultimately use synth. As on "GhettoZouk Demo," this pair also takes care formatting details; transitional are nearly all unique, with shaker and ride use while crash is used twice.



Dj Wayne returns a a marked man as he plays with fire. In spite of its brief running time - a mere sixty five seconds - "Loucura Zouk" is one of the stronger beats presented. Tempo is retained, but all the soft edges on "Sonhar Acordado" have been shed in light of ghetto zouk styling. Promisingly, the track has the makings of a more complete and electronic project. Similar to the songs above, the long and short sections vary by just two bars. Rich in in resources, 'Loucura zouk" features two synths, a piano, a kick/snare (and the odd tambourine) beat, and percussion; all of which is heard throughout due to an atypical fade-in. Such is the nature of the brevemente that follows. But the show does not start yet started; only during the latter half of the number do Wayne's vibes peaks. Bifurcated by a percussion-free interlude, Wayne changes the floating vocals sample to. The phrase does not change in length. Alas, the voice has been chopped up and resulting the effect is strong. Many repeated spins are recommended.



The following producer opts for neither a ghetto zouk nor a kizomba feel. Instead, EdiCerelac creates a third way of his own. It seems that tired trails typically traversed are of no interest to the Mãn Juh Pruduções beat-maker on "Instrumental DDM Zouk," a veritable hybrid. Released a week ago the song features slew of different influences. The only constant, as a matter of fact is a typical batida style. During a short introduction, EdiCerelac provides but taste of the bass and and the melody which follow. The primary beat is composed of a light kick/clap/hi-hat combination; curious only until until the head takes shape. Two synth amorphous, ambient synths carry the melody and harmony on "Instrumental DDM Zouk."Affluent arrangements of kizomba and zouk are jettisoned. In lieu of this voice, EdiCrelac gets fancy. Tone is varied on the original synth before a third is introduced, providing a solo reminiscent of SNES soundtracks. Bass is inescapable as it becomes indispensable to both rhythm and harmony. A second drum provide some batuco-type syncopation during the third portion before the beat plays out. Very good song.

Last but not least is the group's Don Quixote. Unrestricted by the fetters of reality, Landim works form his Camarate dream laboratory. It is there - just seven miles northeast of Lisbon, or four from Sacavem - that the independent producer practices his craft. Not unlike a stampede of giant, a noise must be stopped and Landim is the only knight up to the tate. Wallowing windmills must be drowned out! As is required by the occasion, and undeterred by naysayers, Landim whips up a new batch of sweet sounding confectionary creations. Just one of the five beats recently released by "The Producer of La Mancha," what can be heard below is nonetheless representative of the beat-maker's larger oeuvre.

As was the case with the "GZ94" and "GZ98" demos, arrangement is lush. Exotic sounds, too. are prevalent throughout. But, "Zouk2011xD," proves different. Rarely are Asian instruments heard on these pages; much less two from the Indian subcontinent on one track. Alas, such is the case at hand. The song begins with two sarangi bars before introducing a foreshadowing hi-hat rhythm. More immediately unordinary, though, is the eight-beat, three tiered introduction; the final portion of which debuts both bass and organ. Nearly a minute into the song the head is reach. Rhythm changes into a more common snare/hi-hat variant. Two additional pieces of percussion lurk in the background all the while. Melodically, the same phenomenon occurs: synths conflate appearances. The bass and flute interchange solo portions, for which the rhythm once again alters appropriately before looping back to the beginning. A very strong, very promising effort. 

The perfect beat may be a conspiracy; luckily the powers that be created dreamers who refuse to believe it. Thanks to them, the future is looking bright

- John Noggle

Term Paper, Vol. 1 (a.k.a What Has Been Learned)

Part two found here

Culture is cyclical.

Popular preferences - as is the case in any stakes, derby, or city specific "-500" - reluctantly return to the start; it is as if no race occurred. Flags of the checkered variety must be a myth. No marks exist for which racers can get set. Starting and finishing lines alike are one in the same: drawings in the sand, brick, or grass.

And not since the author was birthed, some nearly twenty-five years ago, has repetition of recent history been more presently pervious than on this year of our lord, two-thousand fourteen. Examples are scattered throughout the globe. In an homage to Father Time, Mother Russia once has once again found her groove; throwbacks are not limited to Thursdays any longer. Military incursions come one by sea and two by sky, three if by annexation but that might as well wait until a later time.

The Western hemisphere, too, has suffered the scourge of saturated ideas. Suddenly, and without prior warning, Cuba is relevant again. Break out the whiskey and bitters. Old fashion nostalgia must be celebrated in the United States as well. A certain award winning play will receive some fresh production for the 2015/2016 season. In an tribute to the brief, but brutal boxing match that was American politics during the 1990s, audiences around the nation will witness an updated - albeit a prohibitively expensive - version of 'Bush v. Clinton.'

Hampering change is futile because revisitation is inevitable. Read these words: no...new...brashness

Music is no exception. Audio art, a proverbial history lesson, relies on the guise of a linear time narrative. When time and style are brought together, audio works may be placed within an era. New ideas seemingly appear as old ideas fade. Be that as it may, though, sounds remain the same.

Notes may be shapeless - wave representations notwithstanding - yet the structures they form are subject to adjustment. Picture the walls of a canyon: steady and imposing in size, these rocks leave an impression on anyone willing to appreciate them. But whether then, now, and or eventually, spectators take in the same figures. With the passage of time elements are added and discarded; the stones are belligerently berated by wind. The appearance of these rocks may change, but no witness claims to have seen anything innately different than visitors past. Most importantly, though, no ideal state exists. Forever in motion, the mere the canyon's mere existence is the true marvel. As such, and in spite of being forever altered, music never ceases being indebted to the past.

Lisbon is a testament to this sentiment.

[Disclaimer: The author is compelled to share the following: what follows is not meant to be read as a lesson.  Decided lack of relevant credentials are glaringly absent. Heretofore, information is simply repeated. The first degree of fact-finding has sought outsourced. No formal investigation ensued. Concepts are shared with the audience as best they have best been understood. Sources are provided below, alas the author does not intend for these words to be passed off an accurate (or readable) assessment of any sort.]

A batida, by definition, is a mixture. When applied to music made by Portuguese youth, however, batida is interchangeable with "beat." Soon, parallels to other genres are prone rise. Not unlike nascent hip-hop working with James Brown's "Funky Drummer"  and The Winstons' "Amen Brother," these producers based in Lisbon have an arsenal of percussive inspiration as well. Rather than draw from old records, though, the beat makers in question rely on the easy-access entryway of digital music workstations (i.e. FL Studio), forming each beat in a style specific to each auteur.

The scene primarily works with four different types of rhythms: semba, zouk, batuco/batucada, and funaná. But to simply stating that  elements are combined into a novel, and modern, creation is disingenuous. The story is deeper. History always proves to be far from linear.

Lusophone producers certainly transpose typical sounds and dancing into their their batidas and percussion, like in any decent jazz and reggae, is tantamount to a good track. First, a theme is established, then the groove is found. The next step is for a beatmaker to proceed in finding the cut; and when this occurs, then the magic happens. Usually rhythm, but occasionally melody, is exacerbated and elation is found. This may occur, perhaps, in the span of twenty seconds but that brief moment of ecstasy is worth the entire track. In an instant, this culmination leads to brash head, shoulder and hip-movements all in symptomatic synchronicity.

While electronic, an innovation of worldwide EDM this movement is not. Available technology is simply put to use, as is often the case, in the best community soundtracks: dialectically and with innovation.

Batidas are best framed as an expansion. In doing so, a run-of-the-mill batida becomes an appendix; an auxiliary source of pleasure, like footnotes to text, or a dub to a reggae cut. At the same time, though, batidas do not quite make independent contributions to any genre other than their own. The legacies of each of the above rhythms is not directly affected by an individual song or collection. Which is why, in essence, batidas expand the base. Techniques innovated outside of the box are taken and repurposed into an applicable manner inside of it. Each sound has specific purpose, and if enjoyed by the public it is further adapted by the establishment. As a result, the scene also revisits past standards; more on that in a minute

While the latter two beats - batuco/batucada, and funaná - are specific Cabo Verde, the previous two are not. Kizomba, tarraxo/tarraxinha, kuduro are all the by products of Angola related to semba in one form or another. The magnanimous tent of massemba, however, is the catch all. Equal parts dance and music, massemba has range and is distinct from Brazilian samba. The origins of massemba are in company of a community. Brought together by chanting, the form was referred to by anthropologists - although, it should be noted, of European origin - as having a sensual nature; a prosthesis for the act itself. At any rate, a comparison can once again be made to Jamaican music by ways of the relationship between mento and ska.

Modern incarnations of semba differ. Beginning long after the Portuguese's arrival in Luanda during the 16th century, modern semba came to form last century. The period between the mid 1960s and the start of the 1980s serves as a veritable revival. Even prior to Angolan independence did semba begin to change. Arrangements began to mimic American bands; all the while borrowing sounds from Cuba . The byproduct is a decidedly fascinating mixture, a strictly Angolan creation of mambo, jazz, rhythm & blues, and of course semba.

A need for pride existed. Popular music up until this point had been mainly Portuguese. Thus, musicians, inexorably tied to nationalist pride, satisfied the public's yearning. Primarily through labels such as N'Gola and Rebita were records released. Groups such as Jovens do Prenda and Os Kiezos - as well as individuals like Artur Nunes and David Zé, among others, helped the sound grow.

Politics, however, are eternally restless. Once self-rule was achieved civil war ensued for decades. Rival factions within the ruling Movement for the Liberation of Angola (MPLA) existed. At one point, even South Africa's military intervened to support a camp called Unitas. But rather than delve deep into these battles - such a subject best being left to those with relevant expertise - another glossing shall follow. Seminal members of the semba scene perished - some violently and before their time - as the conflict raged and on music came to a stop. By the 1980s, when the opportunity once again arose, the old style was no longer in demand. As such musicians searched for influence.

Ears perked up at rhythms from the lesser antilles, as they once had for the sounds from the greater antilles. Former French colonies had a sound cooking called zouk. During the 1980s, the global ambassadors of this sound were the French band Kassav'. With the production talents of a Frenchman by the name of Freddie Marshal, this team created a seminal zouk sound in Europe by further combining the sounds of Guadaloupe and Martinique on songs such as "Kalkile" and "Lagué moin".

All the while, instrumentation remained electric, although the tempo generally shifted downwards amidst cymbal heavy beats. Vocals were sung in a group or be females - Monsieur Donat proving to be an exception, the song "Vania" just one example. With the advent of synthesizers, though, the aesthetics changed again. Few rock influences are heard on recordings released by Bambou, Celluloid, or Hibiscus. Instead, the sound resembles an overlap between new-wave and whatever surviving remnants; a decidedly faster number called "Dangé Vidé" by Zaza proves this point.

Thus, zouk is the ligament connecting the muscle of the past with technology of the present, and kizomba is the immediate result result in Angola. With lyrics in portuguese rather than french, kizomba is popular dance music and a catch-all term for modern Angolan music . But kizomba also denotes a specific concept. Zouk melodies, when combined with semba rhythms, produced an new concept not unlike cha-cha-cha and massemba once had. The combined efforts of Portuguese and Angolan talents such as Paulo Flores, Eduardo Paim and Ruca Van Dunem (whose very good S.K Ainda album is available to stream on Spotify) veritably innovated the Discosette catalog, among other labels.

Music, however, is not exempt from economic realities. Trade technicalities made acquiring instruments more difficult. Thus music became more electronic. DJs, MCs, and sound systems/TV flourished with the likes of Tony Amada and Sebém enabling crowds to sped up kizomba rhythms. Now with aggressive melodies added, and lauding a new dance, kuduro (slang for stiff posterior) came to be. To once again continue the Jamaican analogy, the style stands up to ragga, jungle, and dancehall of the 1990s. Figures such as Dj Du Marcel, Dj Znobia, and Dj Jeffafrozilla are only a taste, not to mention the indispensable DJ Marfox. Tarraxo, another splinter style of kizomba, does just the opposite. While dramatically slowing down the beat, a more intimate sense is created. The air becomes heavy and emotive in a room that is playing tarraxo.

So to recap - which this image does very well - massemba begets semba...semba and zouk beget kizomba...kizomba begets kuduro and tarraxo. Thus batidas, if nothing else, are the newest iteration; a mainly instrumental lab where beats are subject to experimentation, creating in the process all sorts of marvelous creations.

So where does everything stand at the present? Just two years ago, Benjamin LeBrave of Akwaaba Records fame, wrote that kuduro was on the verge of extinction; although the exact word choice was "dead." An apparent lack of interest, combined with a thin talent pool, results in a falling out of grace for hard-asses. In the event of a power vacuum, however, a successor is prepared to take control. Distinct from South African house, Angolan afro-house brings together kizomba and kuduro. The bass may be four to the floor, but the likes of Renato Xtrova assure tracks far from dull. Even Casa Da Mãe paid homage to the man  earlier this year with a track titled, "Renato Xtrova"

Contrary to kuduro, however, zouk is not dead.

More than just proto-kizomba, zouk is active; though perhaps in a niche role. In addition to providing a blueprint for kizomba, the genre has proven to be malleable. In lieu of sub-genres, variants are the popular way of developing zouk. While sub-genres come to develop an identity of its own, zouk variants are fundamentally zouk save for an added eccentricity. Each hyphenated iteration is either genre collision or a result of evolving tastes. Whether Zouk-lambada, Cola-souk, or Zouk-soul, the underlying idea behind each concepts is to give zouk a face-lift by injecting foreign elements into the original concept.

Following the advent of Kassav', the 1990s saw an interest in zouk-love. Reminiscent of R&B, the closest comparison is the redundant phrase 'an off-shoot of kizomba.' Zouk-love bears mentioning, though, because it has been cited by the taste-making likes of Buraka Som Sistema/Enchufada Records. In bringing a similar slowed-down, instrumental element which tarraxo adds to kizomba, Enchufada finds itself at the forefront of zouk-bass. Slower tempo and no lyrics sure the appeal to the growing audience of global bass.

The primary interest of the author, however, rests elsewhere. Together, the audience and author now turn the corner...

Zouk audiences come from both French and Portuguese speaking stock. As such, the potential for interchanging culture is ripe. Sometime in the early 2000s zouk began to reflect such a scenario. The name of the compilation says it all: Ghetto Zouk. With beats on behalf of DJ Power D, and female artists such as Sabrina B on "Es Zot Paré," kizomba bass and melody meets zouk rhythm. Aside from vaguely hip hop drums and R&B singing, beat-makers are granted the opportunity to become more familiar with melodic intricacies by developing these slower numbers.

Traditional elements, such as Zouk All-Stars and the track "Silence," still appear on the many Ghetto Zouk compilations. The bass is more pronounced. Consider, perhaps, Sarra on "Ce Qu'il Reste" where  the groove bears a heavier burden on dancers while synths add a somewhat new element. In contrast to zouk bass, though, vocalists such as Cvreen on "Sitiation," make ghetto zouk makes it ironically less suitable for a global bass in spite of nearly identical BPM.

 So it bears mentioning just once more: culture is cyclical.

Earlier in the year, a track appeared from the folks at Geomagic Entertainment. The producer featured was T-Box and the title of the track called, "The Art of Gangsta Zouk." While not literally ghetto zouk, the resemblance was undeniable. Only a vocalist is missing though this too has been made a moot point by the group Badcompany. The arrangement is lush, drums are tight, and the bass is heavy; Maschine Killah had released a song polar opposite to the fast and bellicose batidas and kuduros featured on these pages until that point. Curiosity has ensued. It appears that the zouk sound is still present. A producer like Landim brings traces of trap while Senex BeatzZ will retain the string arrangements typical to disco before while adding his own a G-funk synth.

In order to break any rule, cognizance thereof is required.

The beatmakers covered on these pages are no slouches; this much has become evident to the author over a brief period of time. By product of circumstance, semba, in its many forms, is the producers' music; they know it, live it, and with their individual styles work with it. Multifaceted and multitalented, each producer makes a core rhythm. Sounds of the past and present are combined. Abeat is created at will. Ghetto zouk is just one example...which will be covered further, for the sake of convenience, in a succeeding post

- John Noggle

Sources:

- Semba; http://www.afrobailar.com/semba.html
- What is Semba? | KIZOMBA; http://www.kizombanation.com/ing/semba
- "A Brief History of Kizomba as Musical Genre;" http://kizombatoronto.ca/uncategorized/a-brief-history-of-kizomba-as-musical-genre/
- "Angola becomes independent of Portuguese colonial rule;" http://www.sahistory.org.za/dated-event/angola-becomes-independent-portuguese-colonial-rule
- "Marissa Moorman interview" | AfroPop Worldwide (Hip Deep); http://www.afropop.org/wp/5165/marissa-moorman-the-master-interview/

- "We Call It Zouk Bass;" http://www.enchufada.com/2013/03/18/we-call-it-zouk-bass/
- "The Bassification of Angolan Zouk; http://www.mtviggy.com/articles/the-bass-ification-of-angolan-zouk/
- "Lungu Lungu: Kuduro is Dead"; http://www.thefader.com/2011/12/15/lungu-lungu-kuduro-is-dead
- "Angola Profile" | Timeline; http://www.bbc.com/news/world-africa-13037271 

Thee Christmas Post (a.k.a. Feliz Natal), Pt. 2

Part 1 found here

Santa Claus has the approval rating of a military junta chief and has no qualms about flexing his muscle. There is no option for reversal once the iron fist of Christmas drops.

Fortunately, this not so positive side of the red-coated, bearded one has been chronicled in an old, story exists that bears repeating.

In "Santa Clo Va a La Cuchilla," Mr. Johnny Rojas tries modernizing the ways of the rural town in Puerto Rico called La Cuchilla. During this early period of the 20th century, the island had still not become fully immersed in the American way. Just as well, old time religion was the preference. By and large, three middle-eastern kings, their camels, and a sampler plate of gold, frankincense, & myrrh were still the mystical gift-givers of choice.

To Mr. Rojas, however, this tradition stands as an affront to progress. Instead, the American educated teacher concocts a brilliant plan: the community must know of Chris Cringle. Santa Claus must be introduced. Magnanimous as this effort is, though, the results yielded prove to be less than optimal. Children and parents cry. Fear is rampant. Grandparents begin praying to every saint in existence because such forces must be called upon to extinguish this red demon before he harms them. Never before have the residents of La Cuchilla seen an overweight man with a large sack shouting loudly; as such, this was their natural reaction.

But as the principal of the school says, "Ya la vida le irá trazando surcos como el arado a la tierra. (Soon enough life will form grooves in him like the plow does to the Earth."). So rather than complain, enjoy this holiday by taking an opportunity to make life more pleasant. This experience is much too rare to negatively dwell. Pick battles discriminately while enjoying the small joys.

 Below are three more Feliz Natal selections released yesterday, the 24th of December (and one released on the 25th)

The Lakers are not be scheduled for this year's NBA Christmas line-up. Be that as it may, Dance Mamba is ready to check into the game. Out by the scorers' table, full of the Christmas spirit, LyCOox waits; and in site of prominently displaying DJ Santa on his "Feliz Natal" track, the song below is exemplary. Tia Maria's resident generalist puts together a middle range to fast paced batida. Rather that rely solely on synth for melody, however, a female vocal sample is used. In addition, an eight-beat synth provides some electro-house sensibility, among other EDM guilty pleasures, even if "Feliz Natal" is nothing of the sort. A hi-hat/kick drum combination provide the underlying kizomba rhythm while djembe provides a strong supporting effort in triplets. All the while a doting bass, with seemingly odd time-signature, compliments the rhythm as the sample and synth are cut-up as might be heard on a footwork track. A formidable first present for sure with good vibes for everyone.

Like coquito in a house full of eggnog, variety is finally provided. Below is the first Christmas track with a title involving neither the word feliz nor natal. At any rate, Dj NinOo shares a mid-tempo afro-house/batida track called "Saudades Do Russel." NinoO also begins with a four-bar introduction but in contrast to  LyCOox, the Txiga beatkmaker opts for a rhythm with strong ghetto zouk overtones. Slowed down and soft, a floor tom/hi-hat combination provide the foundation before a multitude of percussion - from tambourine to woodblock and djembe - is heard. Keyboard provides a light harmony while a high-pitched, melodic plays; which is not to say the song is rigid:. Three distinct sections are composed in addition to the head - one of which takes a strong batida turn.

Stocking may have been emptied, but the presents are far from finished.


Holiday wishlist each have a main attraction. Small gift are more likely to be received, but big presents are what kids live for; and the following track seeks to fill the gap. An afro-house effort composed between Piqueno Djs Do Guetto's Firmeza and Nunex of Alto Nivel Produções exceed any and all expectation. Stocking stuffers so far have been quaint, fascinating, and imaginative offerings. Then there is "24.12.2014 - 44.07.2014." Putting all other offering to shame, the track begins with a sixteen-beat, three-bar introduction. An undeniable Angolan touch follows. With a heavy bass/snare drum, kuduro type beat, the song is even more elaborate than a national tree lighting. All sorts of ornaments are amassed. Two flutes appear as well as two MIDI synths; and as if to keep the theme going, two peripheral percussive participants play too. The biggest accomplishment, though, is the deed unnoticed. While wealthy, the wherewithal to show wanton restraint is shown. Results is far from gaudy. All the sounds are layered and merit repeated spins just to capture each one. A Christmas miracle for sure.


Family and friends are the holiday MVPs - presents are the trophy. But just when excitement starts to fade - the novelty of the day quickly fading -  inventory is naturally taken. Material gains have been made along and hopefully some spiritual ones as well. Then...Aha! It appears a box has been forgotten; one more present is left under the tree and is ready to be unwrapped.

Such is the role played by the remaining half of A.N. Much like co-conspirator Nunex, Famifox released a full-length afro-house track; although puzzlingly titled "Feliz Natal 2015." Released on Christmas morning, the mid-tempo song merits a comparison to the collaborative Firmeza effort. Both styles and structures are similar. Of first note is the immediate difference provided by Famifox: an extra sixteen beats added to the introduction. The sense of suspense is inescapable. Soon afterwards, the marimba/piano melody is exacerbated by a melodica in the head. This beatmaker wastes no time. Once the bow is removed, shekere provides a polyrhythm to the foundational snare/kick drum. Residing on the softer end of the spectrum, the bass subtly weaves throughout the groove. Aside from the head, two large sections are composed. During the first large section, a series solos play as a tambourine is incorporated into the rhythm. Similarly, the second section focuses on percussive elaboration.  Very, very good.

So although on this night it is Christmas, all over the house it can sound like the zoo has been freed. Stockings still hanging, the bass rattles the chair, now with these songs all of the neighbors can stare. These songs have been posted with awful good care, so finish enjoying Christmas...and that is a dare.

- John Noggle

Thee Christmas Post (a.k.a. Feliz Natal), Pt. 1

Santa Claus is an enemy of the state; make no mistake about it. Carol the message forward.

Any figure congruent with benevolence is too good to be true. The message is tired and cynical message, perhaps even gloomy. Regardless, the author stubbornly trudges forth; not unlike eight reindeers exempt from fair wages and an eight-hour work day.

Pay no heed to the lore! Only a small number of light-skinned people live in the Northpole and probabilities are that not one of them is toymakers. As a matter of fact, most of the people in question speak Danish (or Russian with special expertise in oil exploration). This conspiracy that runs deep.

The man known to Saint Nicholas is a dastardly character. Daring to suppress humanity's potential once a year, Mr. Claus's exploits must not be forgotten. Even at this stage in human society, interacting with other intelligent creatures seems out of the question. The cause? Of all reasons, it is politics despite the tireless effort of space programs worldwide. Contacting extraterrestrials may be unlikely, but an effort should still be made. And all the while Santa is busy putting out anti martian, pro-colonialist propaganda.

Still, the world watches and waits for Black Peter to sign a tell-all book deal.

Until that time, why not spend the holiday as pleasantly as possible. Below are three Feliz Natal selections released today, the 24th of December

DeeJay EstraGaa is been no stranger to these pages, and as such is a candidate for the "Noggle Nice List." This DJs Di Puro Ritmo beatmaker has affinity for melody and "Feliz Natal "2014-2015" is no exception. A track of the afro-house variety, with a kuduro beat, the tempo is fast but mimics the instrumentation: it eludes the sensation of being overbearing. The rhythm is driven by an inornate hi-hat/snare beat, syncopated with a vocal sample on third beat, and is rounded out by four-to-the-floor bass. Most intriguing, though, is the occasional use stop-time; in addition to portions where the producer eliminates percussion altogether. But the risk carries potential for a high reward. Melodically, EstraGaa spares no effort. A single synth is used in a looping four-beat phrase but it is in no way static. Tension is built through effects and a steadily rising pitch; ultimately resembling a the-dual guitar harmony of a 1980s New Wave of British Heavy Metal group.



Although a recent discovery, Puto Tito also qualifies as a candidate for the "Noggle Nice List." Much like EstraGaa, PT Musik is prolific; "Feliz Natal #PT Music ProdD," being just the latest example. Similar to the above track, Tito's beat is sparse. But if the track in question were to be represented by a cup, imagination is fills it to the brim. Only two synths, drums, and bass are used, each in a fascinating manner. Half-bar introduction/interludes separate three four-bar sections, each of which is distinctly different. Once the song begins, the keyboard of impending doom continues to play for four beats. The hit-hat/snare rhythm begins. Bass is heard but only for two beats, furthering the impression of a slowed-down zouk with as a melody as distant from kizomba as possible. Then the track changes. A second synth, emulating strings, elaborates the melody. In much in the same manner, a nuanced hitch in the hi-hat alters the beat. For his final act, Puto Tito teases listeners with afro-house. Four the the four bass enters as the strings exit. If nothing else, a Christmas surprise worth repeated listens.



Producer and letter "A" afficionado RaphaaelVááz makes the "Noggle Nice List," by default. The independent beatmaker from Margem Sul - some eighty miles away from Lisbon proper - is adept at his craft, despite not appearing on these pages at all until now. Typically a creator of slow tracks, the songs released by RV Records vary by intrigue, but each release, without fail, is clean and proper; "Feliz Natal" being no exception. Of similar make up to for the EstraGaa and Puto Tito song, Vááz begins after a short introduction (only one bar) which presents the main source of melody: bell and synth. The track is a mid to slow tempo afro-house with a strong kizomba feel. Each of the three synths are layered, creating a comfortable cushion on which the track can rest; the distant, choir sample providing the proper ambiance for this Christmas eve. A straight, 4/4 hi-hat produces the underlying melody, djembe the flare. If expanded, and finalized with a vocal contribution, the track would suffice the accompaniment for a proper kizomba song. Alas, after only ninety second, the song concludes.

The brevity should at least serve as a reminder to enjoy the brief moment that is peace during the holidays.


- John Noggle

An appendage - Four more Remixes for "Botão"

"Cryin' won't help you, prayin' won't do you no good,
Now, cryin' won't help you, prayin' won't do you no good,
When the levee breaks, mama, you got to move." Led Zeppelin, Led Zeppelin IV,  "When the Levee Breaks"

A zombie apocalypse not merit any planning. Being the work of fiction, a solution can easily found in the heat of the moment: seek help at the residence of George A. Romero.

Surely a long legacy in the field story-telling has prepared the man for a world overrun by flesh eating corpses freely roaming the land. The 'deadfather' seems like any idea man.

Floods, however, are the polar opposite; faster moving and unpredictable. As with a tsunami, floods cannot be outrun. Worst of all no time can be spared. Every action must. What ever will be the solution? An initial inclination might be to rely on FEMA, then memory kicks in. A likely second reaction might be to turn towards the authors of the above. At best an answer can be found by playing "Stairway to Heaven" in reverse.

Theorizing aide, the at the present time the levees no longer stand. So maybe partying will help?

After all, the current flood is different. Rather than water, it is a tidal wave of sound rapidly approaches the shoreline of attentive ears. The power is much too strong for mere mortal strength and these pages are no exception. Karlitera's "Botão" is an enviably a good song. Further emphasizing this point were four remixes of the song. This is the forces the rains began rain can be said to have started.

A deluge would soon to follow.

First up in a proverbial weather system of releases this past Sunday was the combination Dj SuaviiCox and Dadifox. On the joint below, the producers come together on a remix for the second time this year. Important to note is that neither of the beatmaker is a stranger to kuduro. The song below is no exception. A re-fix track (on the Noggle spectrum of remixes), what follows is built around a simple horn riff. Cut-up and altered throughout, traces of afro are heard in addition to the trumpet. The bass is a chameleon; a four to the four groove appears but is not present for long. A novel rhythm made of up claps and hi-hat is heard as well. Non-obtrusive over all, the beat itself compromises between overbearing and unassuming, allowing for a backloaded batida section replete with djembe and tambourine. Further driving the point home is the pair's altered structure. SuaviiCox and Dadifox give "Botão" a shuffle. The original's sole verse is dissected for different a second section thereby creating the illusion of additional content.


The Sunday torrent continues, but the following producer takes a more traditional approach. As with the previous track, Yudifox re-forges "Botão" into more concentrated form but rather than change styles, the DJ improves upon the original. In an afro-house manner is the song elaborated; the beat may be identical but new drums are used and the vocal sample is moved. The result is a fine afro-house extract, potent and pure. During eye of the storm a shekere, scraper, and djembe all play a part. But the real change occurs much sooner. Following a sixteen-bar introduction, this Yudifox re-fix makes the chorus central to the develoing track. An accordion is used for melodic purposes, but of greater interest is the placement of Karlitera's about halfway through the song. Alas, the result is effective. Listeners are given a new beginning  as a rainbow appears above bridge.



The water metaphor must briefly subside.

Black 'n' Power Beats' Puto Helder has chosen a horrifying - yet accurate - picture for his version of "Botão." Upon the invitation is an unspeakable image. Be forewarned the NSFW-ness cannot be unseen. Even Kurtz would flinch.

But as with dark hearts and exotic raves, the accompanying song merits discussion. What follows is a kuduro worthy of exposing all dignity, and from the onset effort is evident. PutOo Helder begins with an ominous synth that fails to ever reappear. But the introduction also contain two very clever false starts before the song's body begins. Three sections loop once. Three distinct section are heard - Karlitera's chorus appearing in two of them - as well as a bridge. While Puto Helder bases the melody on his re-imagination melody around a MIDI horn and marimba, a faint synth can be heard in the midst of singing. The rhythm is curiously constructed with ride cymbal - which is also the source of transitional cues - and a wood block as a vocal sample syncopates.

Rain is just as much the source of sorrow as it is for life.

The final track (for now?) is also courtesy of BnPB, Dj kingfo0x follows suit with a kuduro, which also happens to be the shortest song of the bunch In contrast to Puto Helder, the beat below is constructed with the typical snare and hi-hat. Similarly, however, both producers sample only the chorus. But once the introductions subside, and the two false starts within them have concluded, the similarity between the tracks comes to an end. Each song repels the repel like charged magnets. More "beat" than "song," kingfo0x essentially recreates "Botão." Short samples of just the word botão - sometimes preferring simple syllables thereof - are scattered from beginning to end in a dynamic pattern in a manner vaguely reminiscent of juke. Regardless, the introduction also features the song's main attraction: a tweaky, off-beat one-bar guitar. Two harmonic synth notes are faintly heard as well, although they would benefit from a boost in volume. Bass might very well be negligible. So instead, additional percussion is provided in the form of triplets by the distant sound of what appears to be rudimentary engine.

- John Noggle

EdiCerelac [MNJ] - "Eu Não Bato Bem"

Language is a liar.

The thesaurus is the agent of anguish; each dictionary a testament to false alphabets.

Humans, heed an past organizer's call! The people have suffered long enough. While perhaps hypocritical, the author does feel strongly about this matter. Words - too many of which appear far too often on these pages - are both friend and foe. User error is not the problem. Regurgitated repetition, too, is irrelevant.  The threat is much more sinister: devastatingly dangerous are the doldrums of false cognates. Frenchis a frequent transgressor, par exemple. Patrons of a Paris bistro who might desire avocado on a croque-monsieur need not ordinateur (computer) un avocat (lawyer); such is not the stylo (pen) of modern Gauls. Likewise la libreria still not a library in Spain; in spite of the tireless efforts by high school freshmen enrolled in Spanish classes across the United States.

One Dj, though, is doing his part

Among those advocating for the charge is EdiCerelac. Mãn Juh's efforts revolve around working mainly with instrumental tracks. And for what it is worth, a lack of attention does not signify a drought in output. Since his last appearance, two track have appeared care of the MNJ head. First, in early September, EdiCerelac released a joint collaboration with the seemingly ubiquitous Black 'n' Power beats. Alongside Dj Show, the MNJ beat maker creates "Lá Na Cabana," A kuduro with traces of afro-house; or vice versa. The release is underwhelming regardless. The bass is most interesting in the chorus while the melody and rhythm are not much more than standard fare. A similar description fits the succeeding track; an exclusive number for a new SoundCloud account called Canal Mais Kuduro. With a mid-tempo kuduro, "AquiEAcola" shows promise but still stops short of the edge. The Bass makes a decidedly greater impression, alas the song's feel is generally conservative. The rhythm functions with a single piece of percussion save for one section; the uninspiring synth melody fall short of the producer's standards.

Such is not the case for the song that follows.

The title is advised to read the title ironically because, "Eu Não Bato Bem" is a stubborn batida, expertly cooked to taste. At no point during the track's two-minute duration does its rhythm stop syncopating. An extremely similar song to "AquiEAcola", what makes the song below superior are minor details. The bass, though similar, is more pronounced. Note as well that nearly all of the transitions on "Eu Não Bato Bem" on instigated with a crash cymbal; yet the one-time EdiCerelac deviates, just before the minute mark, proves to be one of the track's strongest moments (and a shame the idea is not pursued more extensively). Despite a simpler the melody - only one synth is used - and the results are bluntly endearing, as is the EdiCerelac style, who gets not the final word, but instead a bang.

- John Noggle

Badcompany Má Vida (feat. Dope Boyz) - "Da Favela" (dj kingfo0xx [BnPB] & Dj SuaviiCox [R.S Produções] Remix)

Society has no definitive place of worship.

Entertainment venues have become the center of faith in a secular world.

By their very nature, the events have a social ethos. While personal fulfilment may very well stem from self-enjoyment, by merely being present an individual has engages in a larger responsibility; in the process becoming a part to a whole. For all intents and purposes, concerts, movie screenings, and art exhibits are all the same as enjoyment extends beyond the confines of each body. The power of people, together in a room and sharing a common interests, is the real event; a spectacle within the spectacle where the present share in a moment of time that cannot be identically replicated.

All of which is a long-winded rouse.

The author's intentions are covert; and selfish to boot. Alas, he insists on sharing a memory from his childhood. Despite growing up in the comically dysfunctional Commonwealth of Puerto Rico, many utilities common to the United States function in much the way. Toilet bowls flush clockwise. Televisions and radios broadcast content in English. But most importantly, motion pictures showcase a slew of advertisements. Unique to this tale, however, is a commercial that took on a life of its own. The Harris Paint song is good. Percussion is a plenty and the vocals originate deep within the spokesman's body; listeners' fingertips become numb in accord with the heartstring plucked within them. The song eventually became more than a hokey jingle. Integral to having grown up on la isla del encanto during the 1990s is an ability to recounta version of the tale in which an entire theater halls stood up to sing their country's second and unofficial national anthem.

Much to the author's chagrin, this legacy of superb soundtracks for paint based visuals continues.

The scene is still for only one moment. Within the first five seconds, the bass on "Da Favela" starts to shake and paint, engages in a dance with destiny.

What follows is the collateral damage; a cut from the Klub Bangerz mixtape released by Badcompany two weeks ago. Based out of Angola and Portugal, the group consists of Prodigio, Monsta, Deezy, Anyfá, and Sanger. The record is diverse. A variety of genres are heard, and they change with frequency. A random selection is just as likely to be a tarraxo or kuduro as it is to be Southern flavored hip-hop - further accomplished with a combination of Portuguese and English lyrics. Badcompany even performs zouk; having coincidentally choosing T-Box's "The Art of GangsaZouk" as the beat for their track "We Mobbin."

But the song with the chemical hypeman is different. Galaxie, the producer behind "Da Favela," has only one beat to his credit on Klub Bangerz. Be that as it may, the song in question is significantly superior to any song assigned with runner-up responsibilities. The beat is equally indebted to grime, kwaito/kasirap, and hip-hop, so it only seems fitting the title feature a term of Brazilian origin. Video-wise, images are captivating for a moment; musicality is the strong suit of this subject, though, and the track in question is persistently mugging for attention. In stark contrast to most popular music, "Da Favela" does not feature many drums, if any at all. Galaxie instead creates breakbeat rhythm with vocals alone as bombastic horns dually supports the rhythmic role and leads the melody. The bass is sparse. A strong track assisted by a different sound, the most notable contribution is the most innovative paint application technique since the number 31



Inevitably, the above track has been remade. Slender by design, a permissive force in Badcomany's original song is the power in absence. Blank space is left throughout the canvass. As a result, creative types cannot help to be drawn into the trap. Two such Djs are SuaviiCox and kingfo0x of Black 'n' Power Beats. As is the case for past SuaviiCox, the remix artist has found a conspirator and together the pair re-imagines "Da Favela" in light of a new style. Galaxie's minimal beat transforms into a batida. Immediately noticeable are the drums - kick and snare - with marimba soon to follow. The same structure is retained, even though the introduction cuts directly to the chorus. With the vocals comes the main snare/hi-hat rhythm as well as a new a new vocal sample and percussion in order to syncopate. Good over all; an enjoyable second feature.

- John Noggle

OG Amber London [Rvidxr Klvn] - "Can I Live Wit Da Glock on Me"

Society is on the precipice of change. Gender superiority, though not yet abandoned, is an institution ripe with the potential to self-destruct.

The duty now rests on the shoulder of the underground - with all its kingpins, bosses, and stick-up boys - to guarantee change is assured.

Sure, anything that men can do women can do just as well , if not better; a forgone conclusion. In this year of our Lord, twenty-ought-fourteen, women are trusted in boxing rings with more than numbered placards. Sporting gloves and trunks befitting a fighter, girls are have gained access to rings with twice the number of sides to boot. But tangible change, where society is concerned, must be sustainable. Society's underbelly must accept the changing of the times as fact. Elliot Ness was a man, and Al Capone, too, is said to have been been male. But while one gentleman gave chase as the other heeded, neither would have become historical figures without the women of the temperance movement, hatcheting their way towards the 18th Amendment. Even upon reaching the highest of peaks, a certain respect must be afforded to womankind. "Mother of mercy, is this the end of Rico?"

The Queen of the Pacific might be inclined to say ye, yes it is.

A  boss by any standard, it is from this vein that Amber London bleeds: boss-lady tried and true. Her catalog stretches back two years, and throughout it London's aesthetic has been consistent. The fetish for nineties southern rap is undeniable. Alas, Miss Low Key is more than forlorn gangsta rap regurgitation. The seminal RXIDXR KLVN figure has long been among the network's most adept rappers. With a persona equal parts meanm and determined, with an unmistakable unapologetic Houston-flow, London's attitude lends itself to throwback status:  uncompromising. A student  following the hustler's blueprint, as was once the norm, by applying the playbook to her music. Gender is of no importance on a moat wherever the beat float. Bad is bad in spite of reproductive genitals.

Such is the trend which continues on "Can I Live Wit Da Glock on Me." What follows is a hypnotic 32-bar rap without any semblance of chorus. Between the cmumukative fifty-seconds of intro/outro are two verses, the second of which is superior, broken up by an interlude. In absence of a hook, the Hard II Find (Not Found) thesis applies just as well to the loosie below: "this underground." Released over the weekend, the song is sample based and Produced by occasional BRK affiliate YungIceyBeats. The track features the Atlanta beatmaker's affinity for deep-melodies and heavy bass; which, as can be heard on this Black $murf track, allows rappers to make of his beats what they will. Content-wise, "Can I Live Wit Da Glock On Me" justifies the narrator's lifestyle, all the while begging the question "Why has the OG has never received more attention"; a habit Amber London songs cannot seem to shake despite being on fire east of Osiris

For progressive, artistic statements the author's advice is to look else where. Honest, straightforward music, however, can be enjoyed below.

- John Noggle

KiiD'FoOx [L.S Produções] - "Sem Nada a Fazeer" & "Estilo A.N (Dedicado ao Nunex)"

It is good to be the king.

But to be a child, especially one without siblings, is even better.

America has no royalty per se. Leaders of the free world must rule with a house divided and free from mandates divine. The church and state are married. Alas, this couple - one which lives in the same room - must sleep in separate beds. Such is the American way. The country was founded on opposition to a foreign monarchy, after all. Shots were fired. Tea was wasted. Crispus Attucks, still forgotten. Hysteria runs high, but royal envy within the U.S. cannot be denied. Legend has it the the country's first President, turned down an offer to become king; even though this never happened. Jealously is ripe. Imitators come in all forms: professional wrestlers, fast-food spokesmen, and even a Southern hip-hop mogul.

To have youthful, though, is to have true power: such is the way of the young and the passionate.

Look no further than L.S Produções for a prime example. Although promoted more frequently by the likes of Cirofox and Dj Willicox, the crew's third member is musically adept as well. Much like the rest of L.S, Kiid is not shy about his preferences. As opposed to the rest of the crew, though, Billy the menino prefers slower tempos and enjoys traditional instruments; notably the guitar. Otherwise, though decidedly not unique, a vocal track will often provide syncopation. Be that as it may, this is producer with reach and semblance to Willicox's jack-of-all-trades merits mention. Kiid tends to release afro-house and batida type tracks featuring lovingly lush in arrangements. Until, that is, Kiid shares one of his brevementes. Hard-hitting and fun, these are only some of the benefits that come from young confidence. 

Such is the case with the track below. This is latest in a series of songs that begin with the word 'sem,' the contents of which are loud, So as to prove this, a kick-drum and crash cymbal  lay down the primary rhythm. What follows is a mid-tempo batuco. Released last week, "Sem Nada a Fazeer" compares well to "Sem Mimos" in more than just name. Beyond a mere whistle, the portion richest in content comes care of percussion. The song interestingly is not overtly polished with synth of the harmonic variety. Instead, a combination of horn and flute combine to carry the melody. With the extra space in the ground plan, Kiid is able to manipulate other segments of the song. As on "Sem Mimos," the triplet drums elevate the track with the assistance of call and response vocals.



Kiid the returns four days later in an homage by song. What can be heard below is titled "Estilo AN (Dedicado a Nunex)." As might be correctly inferred, the track to be a dedication to half of Alto Nivel Produções. As such, the two-and a half minute is best described as melancholy afro-house style. Four to the four bass is accompanied only by additional percussion and two synth notes in the introduction. While accordion and more synth are soon to follow - even if they each plays a meager two notes - the overall impression is one of nostalgia. All of a sudden the synths begin sustaining their respective notes. The beat stutters. Accordion and flute draw the audience's entire attention with extended appearances as the triplet drums pummel on in the background

A well done expression of gratitude.

- John Noggle

Four Remixes for "Botão"

Martha was great, but the Vandellas were better.

Power is in numbers.

The same principle applies to parties, too. Whether indoors or outdoors, guests should go forth and multiply; rule over the sea and the sky. Hopefully Diana brings her Supreme friends. The motown the merrier. But what is for certain is that a timely entrance is key to any gathering. Arrival is best when dancing is happening across all matter of streets. In the mean time, plenty of heat is necessary to keep party-people occupied; and due to generous contributions, sufficient gas is available provided.

All praises to Karlitera, bringer of propane and propane accesories.

It may be a number of months old now but, "Botão" still carries a punch. A surprisingly simple song, several sensations succumb to its sounds. The tracks bumps. Joy, therein, is found in much the same way the contents of a punch bowl are prepared: primary ingredients differ little from case-to-case because the real secret is in the spiking. Consider Dj Padux. Once the bass begins counting out the number of New Testament gospels, z full barrage of elements plays: two synths, two pieces of percussion, drums, bass and vocals. And not unlike religion, a certain ambiguity is left. Room for interpretation is ample; unsurprisingly a number have sects have already begun their attempting to turn the punch into fortified wine.

The first nail on the list of reforms is Dj Willicox. Released two months after the original video, the L.S beatmaker re-imagines the track in a more kuduro image. Once the new synth is established rhythm kicks in. While loud, the Willicox works with a different set of tools: kick drum and snare. Furthermore, each element is exacerbated (see: bell is heard, but in new spots). But changes are not limited to rhythm. Flute and horns are added. And most impressive is the manner in which Willicox organizes the number. Selecting the vocal portions best suited for his remix, the resulting "Botão" is given an entirely novel structure by the Dj; the song looping once as a whole.



The following dissenter comes from the oft forgotten, fringe element known as DJs di Puro Ritmo. Two weeks after Willicox, Produtor Big Vado causes a schism. A full three minutes shorter than the original - and sixty seconds more brief that the L.S equivalent - Big Vado also re-creates, "Botão." But, for instance, during the introduction a djembe plays the fill as the three beats that should precede it are curiously absent. Instead, a flue is heard; meanwhile two separate vocal tracks are overlap. Creativity is afoot. Initiated by a strong kuduro rhythm, Vado shows a desire to make his remix even more "afro." Percussive reinforcement arrives after the head, and then Produtor then finds the cut.  Flutes end on high notes - the beat begins to batir when drums play triplets. Interestingly, Vado structures the track as A-B-C-B. But of greater intrigue to the listener is the bass as a death knell. Very, very good.



Conservative voices are bound to speak up. Change is a scary possibility; such is the nature of the human psyche. Alas, an awakening overdue. Appearing in the the form of  a MixBwÉ song about a month ago a necessary perspective is proovided. After all, one might be ought to recall that "Botão" is very much popular, as well as dance, music.  MixBwÉ does not lose sight during this re-imagination - "Botão (Cassanova tracks)" plays the part well. In organizing the remix as Chorus-Verse-Chorus-Bridge-Chorus, the man behind Avessos Recordz drives attention to the main draw. Botão may be repeated with devilish frequency, but the remix's anchor is the Karlitera's sole verse. Otherwise, a snare-only kuduro beat plays. Bass takes two forms, but is overshadowed by the dual purpose accordion. While not terribly adventurous, fire and brimstone provides a nice hook.



Two Great Awakenings later, the flock is left without direction. Are forty more years in a barren dessert inevitable? Far from the case, a leader emerges. The church may be less than orthodox, but the attention provided to details is much appreciated. What follows is not unlike a megachurch. Released just a week ago by another resident of Lisbon resident named LeoBeatz, what can be heard below is a re-fix of "Botão." The similarities are resounding. Beginning with its duration; by far the longest of the three and the only one that even surpasses three minutes. In doing so, no amenity is denied. Cost is of no importance. If the goal is to create an elaborate afro-house track, LeoBeatz succeeds immensely. The mere fact that a hi-hat beat is preferred is of zero importance. After the two introductions - including the original's monologue -  the head plays. Suddenly, and without, warning a dubstep interlude breathes the fury of God into listeners before a return to the head. Flute, flute synth and percussion all enjoy a solo, though they each vary in length. A very strong effort., though decidedly "gimmicky" for the author's taste.

- John Noggle