American football has not always been a weekly, well-designed air show. In a now bygone era, tanks of men dominated the the National Football league's ground attack. Franco Harris, Earl Campbell, Archie Griffin and the life veritably qualified to have interstate freeways named after them. Baseball is no different. The sport that once ha an entire era dubbed "dead ball" never received more attention that the sudden sadistic surge in power most militaristic. Congressional hearings may have also contributed to the national attention; alas, the author will righteously allow historians to decide. In the case of basketball, the center-stage attraction of generals has always been present; so long as they do not reside in the district of columbia. In only one game throughout the league's history has an athlete ever scored one-hundred points. But once the king of modern hoops - none other than Akron's LeBron James - took his talents to South Beach, a new cycle began to take hold.
The era of the big three, it seems is in full swing.
Dj LyCoOx (a.k.a. Dance Mamba) is no exception. The Tia Maria is truly given to hyperbole; and with good reason. There are some weeks where it seems the French generalist appears on a track from everyone in the scene. Criticism of overexposure is ripe. Like "The Decision," reality is more nuanced. LyCoOx, truth be told, jumps on so any joints because he is formidable at his craft and still improving. But most important of all, LyCoOx is near outmatched by any; he is always willing to evolve dominate a new style.
Over the past few weeks, this much has indeed been accomplished alongside members of Firma do Txiga.
Dj Wayne is first off the blocks. One of the lesser-celebrated - but nonetheless important - Txiga members, Wayne's single afro-house appearance on these pages is not representative of his work. Instead, the more accurate statement reads: this Dj is typical of the firma. A frequent collaborator with a preference for slow tempos, not to mention percussive variety, traditional instruments often carry Wayne's melodies. That being said, outliers do exist. A good funana or kuduro cannot be denied. The same can be said for the odd kizomba remix - guilty pleasures that cater to audiences' tastes - which adds variety to Wayne's cadre.
In working with LyCoOx, though, Wayne returns home. Released at the end of October, "Funguiça Fudida," is a slow batuco. The backbone of the rhythm is a kick-snare. But soon after the beat is established, syncopation begins: hand drums labor through triplets as a single blow of the whistle concludes each bar. LyCoOx, too, plays a significant role throughout. Aside from the high-pitched bouncing melody, not to mention a counteracting lower pitched synth, percussive vocals are given a echo which an air of depth. The importance of the beat itself, though, cannot be overstated. Prior to concluding, the Djs eliminate all peripheral elements and boldly allow the rhythm to play out.
A redeeming quality, if nothing else, for a number with an peculiarly long outro.
Puto Nuno was quick to follow.
Released four days later, "Kuduro Terfo" is a much different track. Containing elements heard only once before - an unnamed Asian, string instrument assigned to melodic duties - the song below is a quick-paced kuduro. To the benefit of listeners, "Kuduro Terfo" works both to the strengths of the Tia Maria stalwart and the FDT mad scientist. Technical prowess is prominently on display. No synth is in sight. These producers have instead decided to rely on their chops. The primary rhythmic element is bass; it undergoes three permutations, and each is stronger than the last. Not unlike the first and third vocal samples - gasps for air surely in response to the aforementioned bass - claps, tambourine, and hand drums act more as support than rhythmic tools. A variety of transitional samples, four to be specific, are also used.
Quite a strong song as the western front is still noisy with change.
- John Noggle
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