Alto Nivel Produções - "Sentimento do Coração" & "Esperança"

Europe is inching ever closer to the end.

And in this there is no shame. As a whole, the region had a good run.

The victims may be European but the perpetrators are...actually also the European people. But such is the general history of this continent: a land mass full of different cultures, languages, and ethnicities working against each other, time and time again. What began as good natured agreement between kingdoms has since fallen into a steady decline. Nationalists enclaves still fail to flame out. Case in point, Scotland may have launched a failed independence gambit; Catalans, however, maintain hope. Operation Iraqi Freedom has formally come to end. Still, Spain gloriously continues its own honorable battle for a rock. Eastern European threats, on the other hand are more credible. Fearing actual conquest, Lithuania has begun offering free counseling in the form of a printed guide on how best survive a foreign invasion

It was the European Central bank chief, Mario Draghi, who said, "Hope is not strategy." But how harmful can a leap of faith really be at this point?

After all, hope has functioned rather well for fans of Famifox and Nunex. With the close of 2014, it seemed the end of the road at been reached. An artist's work speaks for itself, and in this regard the title for "Final da Estrada 2014 (Original Edit)," left little room for ambiguity. A message was sent. At best no more A.N releases would be heard until 2015. The alternative, a worst case scenario, the pair would cease producing any new music. Neither prophecy, however, has fulfilled itself. In addition to a Christmas track credited to both Nunex and Famifox two new songs have already surfaced before February has even been given a chance to commence.

The first song, titled "Sentimento do Coração," was the first to appear. Credited as solo Nunex effort, what follows is standard fare in manner. Adhering to A.N's afro-house style, the tempo is maintained and a middling pace. The track has many moving parts - synth melody, drum/percussion polyrhythm, electric guitar/piano harmony - and longer beat phrasing. Clocking in at three-minutes, this song is primed to be a single. In addition to the radio-friendly length, "Sentimento do Coração,"  beares a typical pop structure, Introduction-Chorus-Verse-Chorus-Verse-Bridge-Chorus. While the rhythm is held down by the kick/snare, neither the bass nor the percussion, however, is static. But, of course, it is the run - well layered and democratic - that is of most importance. Decidedly sterile, but admittedly very good.



Hope may not be a strategy, but it is certainly the title of the song below. Released as a collaborative Famifox and Nunex effort "Esperança," is mid-tempo afro-house number as well. Similar to "Sentimento do Coração," the rhythm is delineated by a hi-hat/kick. Still, the what follows is of a more batida, if not batuco, quality. The beat more percussive - woodblocks and shaker both provide syncopation -  and while the structure is decidedly less conventional. Both tracks are equally as polished and "busy," but instead of taking a pop route, "Esperança," is organized Introduction-A-B-C-A with the head fading out as the outro. In addition to retaining the longer beat phrasing that is one of the duo's signature's a swathe of different sounds make a melodic appearance; even if the trumpet, flute, guitar do not play together until the final section. While opining in a better/worst scenario is largely unproductive, it is the author's view that the second of these song is superior.

Here's to retaining hope the pair continues releasing new music together.

- John Noggle

Dj Wayne [Txiga Pro] & Dj Mika - "Funana di Jovas"

Politics are useless.

Politicians, at best, are odious figures; at worst, they are a mausoleum where cash contributions go to die, safe and sound during a four year hibernation cycle.

Thus, election season is never difficult to notice. Once proper ceremonies conclude, and the suite preparations have been completed, the all important stage of consummation begins. As with any happy matrimony, the scent of salt and brimstone lingers. A slow burn overruns the unsown land, and what could once be described as a scenic view is now a heaping pile of sodomy. Vegetation no longer grows; although this is not the case everywhere. It was the Iraqi cleric Moqtada al-Sadr that said, "Politics became a door for injustice and carelessness."

Then again, the Mahdi Army was a significant force in the middle stages of the second Gulf War. And after considering the location of the author's IP address, perhaps it is best not to revere the dissenting side either.

But where institutions fails, art frequently succeeds. Muralism is not the only piece that rests within the domain of the public. Approval ratings for the governing elites may perpetually dwell on the lower rungs of the popularity ladder, but there are some human innovations that can never be entirely despised. Dancing is one such case, and funaná is a formidable facilitator - and neither is ever unwelcome. Sometimes laced with accordion riffs, laced with a thick groove at other moments, the Cape Verdean style is never lethargic. No longer confined to the realm of full band arrangements and analog instruments, funaná proves equally charged in the the electronic spectrum.

Such is the case with the track below: a collaborative effort between the Txiga Produções beat-maker Dj Wayne and independent producer Dj Mika. While Wayne has moved began working with different styles and batida tracks, his inclination has been to go slow. On Mika's front, his prior appearance on these pages came care of a mix of more traditional, group oriented funaná selections. Nonetheless, "Funana di Jovas" is a formidable effort released just last week. Of immediate note is the pair's decision to rely on an electric guitar for the primary melody; creating a pleasant breeze in the process. Scraper and chains provide supportive percussion at different points during the song, but the rhythmic star is Wayne and Mika's use of hi-hat. The beat is built around a kick/snare combination, as might be expected, but it is the subtle hitch on the 4th beat, as well as its role in the first interlude, that merits attention. With only one section proper, the structure of the song is still of interest. In addition to a short introduction, "Funana di Jovas" is A-interlude-B-A with with additional loops at the end and an outro. Although the interlude is the same length as the introduction, once the synth heavy B section begins, the final cut is graced with a needle pull before marching forward. Well worth the download.

Frankly, the author will likely never express negative sentiments towards any number in this style, giving rise to the idea of national funaná parties over their political counterparts.

- John Noggle

Rae Sremmurd x Okey Szoke - "No Type (Okey Szoke Blend)"

Labels are the bane of bane of any creative work.

Once deemed to be complete, an honest expression is rapidly processed by a food blender of expectations and desires. What is left is a puree; easy to digest even if the individual ingredients are nearly impossible to distinguish. Complexities are substance, flavor, and a slight hint of nuance while simplicity adds the comfort of avoiding any gymnastics (mental or otherwise).

It is perhaps for this reason that the late, great Don Van Vliet named the follow up to the Magic Band's opus, Trout Mask Replica, the only title that made any sense to him: Lick My Decals Off, Baby. For good or for ill, ears became perked. Cacophonous sounds spread out over a punishing double-album garnered the attention of critics, drug fiends, and outsiders. A once anonymous troupe of musicians - led by whatever wily wonders Beefheart could whip up - would be heard from behind a screen door separating the

The bizarre trailer for the 1970 album, once banned for obscene content, merely what Van Vliet would tell David Letterman a decade later: "Lick my decals off, baby; meaning rid the labels children coming."

Of course, Rae Sremmurd is not a rock band. Despite being from Mississippi, the only possible connection to Ry Cooder, or any other Magic Band guitarist, is the delta blues; which is to say the linkage is virtually non-existent. Produced by MikeWillMadeIt "No Type," is the second single off SremmLife. The subject matter is not decals. Likewise, the overarching theme does not concern, as the Migos have stated not once, but twice, labels of the adornment or corporate nature. The album art for the track says it all: these Ear Drummers have no physical preference for a romantic partner.

Musically, the radio friendly song must be classified in the only matter that does it justice. A certifiable banger, "No Type" features a Brazilian funk rhythm. Compressed snares and claps make an appearance - as does vocal syncopation at the end of each verse - but are by no means the primary rhythmic elements. A keyboard melody carries the track's run. Similar in essence to a last year's hydration obsessed sensation, the author's intent is not to be an umbrella. No shade is to be found here (plus the history between iLoveMakonnen and MikeWillMadeIt is covered in this 2014 Pigeons and Planes interview.

A bonafide success by any standard of measurement; especially the Weezy system.



The remix that follows comes from down under, and is free to download, care of Melbourne based Okey Szoke. As a member and founder of Brother Sister, Sam Szoke-Burke is no stranger to combining ideas. Angola frequently meets techno and house concepts on Szoke's beats - evident on his recent "Mahangu EP" and last year's "Spiced Bun EP". As one would expect, then, the "No Type (Okey Szoke Blend)," is not an exception. This veritable re-imagination is a quicker paced track, yet it retains both the original cut's structure, as well as many of the identifying elements; primarily the hi-hats and altered keyboard phrase. The final product, however, stands on its own and combining the best of mainstream hip-hop in the mid 2010s with the percussive tinge of West African dance tunes. In addition to three unique vocal samples and djembe, a new single note synth is added for harmonic effect. The most notable alteration, though, is virtually impossible to miss. Bass is present, but does not take on a similar large, and bombastic appearance as it does in the original. Instead, Okey Szoke opts to forgo depth and sustain for a more direct, bouncy kuduro bassline.

A worthy effort. But promotional or not as with most SoundCloud remixes, unlikely to have staying power. Best to enjoy in the moment

- John Noggle

Bebe Poco - "Y-tjukutja (Remix 2k15)"

This is not a Charlie Murphy anecdote. No E! Tue Hollywood Story is to be found

Sights may be similar, but things are not as merely they seem. Rick James will not rolls through wearing jewlery to commemorate "Unity". Anyone seeking sad pancakes is urged to to seek out Prince's place of residence. Purify yourselves in the waters of Lake Minnetonka: that only looks like Beautiful, "the World's ugliest hater" delicately dancing on the couch

The beat is building. Ad-libs are thrown in for good measure. The club seems inconspicuous; not unlike any other night out. It really might as well be the musical performance for an episode of Chappelle's Show Much like the red suit, an enviably leather is seen; any combination there of would be delirious. Even the dance troupe sporting matching outfits makes complete sense. After the hook, a second softer synths starts to play. Then the scene turns into a 2 Live Crew fantasy.

 The author swears to see hints of orange and green somewhere amid the masquerade party.

But "Y-tjukutja" is not Miami Bass in the least. Instead the video and accompanying music comes care of house from Mzansi's Uhuru. A vocal mid tempo track in quintessential South African style, driven by music store's worth of percussion, the run is the territory of two synths. The best moment, however, comes after the bridge. A funk groove is thrown in for good measure while the melodic synths changes to a more shorter, more aggressive phrase: success on every level



In spite of being a 2013 song - albeit late in the year, November to be precise - a remix has sprung up. Care of Bebe Poco (a.k.a. Bebe Poco Youknow, a.k.a. Dj Bebe Poco Loco) "Y-tjukutja (Remix 2k15)" is released with a DDPR stamp of approval . Rather than continuing an afro-house theme, the song that flirts being technobrega. A Similar rhythm is maintained with a snare-tambourine combination at the same tempo. Be that as it may, styling is minimal and its appearance is glaringly simple; sickly sweet and enjoyable for all the wrong reasons.  A playful base and single note synth are the staples of what can best be described as a guilty pleasure of a re-imagination. The original melodic synths are sampled during the chorus portion, but unlike Uhuru's version, Bebe Poco stops after the verse. No fabulous flare appears at the end.

Good in its limited serving size and available for download.

- John Noggle

Black$ea Não Maya - "Tropas de Aldeia"

Time is neither a straight line nor a circle. Try as it might, time does not possesses the ability to fly either.

If time - shapeless formless, and oh so intangible - were to take any form, though, it would most likely be a sixteen foot tall golden figure. An eighteen feet foot alternative is also possible.

Replete with three heads and eight elbows, this image of Father Time is...atypical. Rarely will any timepiece possess more than two limbs. A third appears on occasion, nut hardly is it present for long enough to merit discussion The siamese nature is much more surprising. Time may heal all wounds, wound all heels, but it typically it maintains only one face. All in all, the passage of time is difficult to grasp, and even more troubling to come to terms with. If for no other reason, then, the Zen master Dōgen Zenji wrote, "'Being time' means that time is being."

Time is arbitrary and artificial; the challenge is to become it.

Or, at the very lesast come up with a clever way to mark it. It this reason, then, that the author observes the approximate passage of 60 days with a familiar label: BlNM season.

Hackiness aside, he Setubal/Margem Sul crew does not release new songs on definite time-table. Schedules be damned. Still, ever very other month is a pretty good estimate for when a Black$ea Não Maya track will appear. The group's last sound of 2014, "MacoBayou," was released  near the end of December. Needless to say a new song has been in order; a void filled by "Tropas de Aldeia." After all BNM has been quiet, but silent. An individual account credited to beat-maker Noronha appeared late last year. And while only one original sound was released - promptly hidden from public view - some careful reposting has kept the name fresh.

What follows is different, but not altogether surprising, Very similar to the Noronha track mentioned above,  "Tropas de Aldeia," moves away from the group's butaco wave.  A hard right turns takes BNM ttoward afro-house. This is a heavy synth track with a mid to fast-tempo. The song below is percussive nonetheless, and driven primarily by a tambourine and a hand drum. Vocals are heard throughout, but not call and response. At this point the similarities end. In addition to the EDM melody, "Tropas de Aldeia" is structured A-B-C-bridge-A-D; the last section coincidentally showcasing little more than a drum loop. Which is to say The song is well-mixed and polished. An electric guitar, with a semba tinge, is heard as well. The initial inclination is to enjoy the track from a distance. Any objection, though, seems reactionary do to its being different; a poor reason to oppose any new apparition.

Until the next BNM season...

- John Noggle

Mix BwÉ [AvP] x LyCoOx [TMP] - "Love and Love"

Very little talk of professional wrestling ensues.

What follows is a song by Australian singer Sia, albeit one not "Elastic Hear,"  Shia LeBouf is not involved in anyway. Child star Maddy Ziegler was but a mere ten years old when the song was originally released as part of the Twilight: Eclipse Soundtrack. No wrestling choreography is seems and metaphors for youth, or the passage or time, are no where to be found.

Essentially, the "Elastic Heart" could pass of as an outtake from Jodorowky's Holy Mountain. At the very least, the result could be fodder for a metal parody. Interested parties are recommended to view the short-form film either way.

More applicable to "My Love" is South Park; specifically a theory credited to Eric Cartman. As stated on the 2003 episode, any pop song can turned into a Christian rock song. All it takes is the careful replacement of ambiguous nouns and any song can be exploited for other means. Such is the case on "My Love." Content, though, is largely irrelevant The instrumentation is carefully chosen for the song. Gentle sounds assure that all attention remains is on Sia's vibrato. Piano and strings sparsely carry the melody on the track builds up; as a ballad ought to do. Faint jazz drums appear late in the song, if one were so inclined to listen through its nearly five minute length



Much shorter, and in the author's opinion, much better, than the original is the Mix BwÉ (DMixbwé) and LyCoOx (DLycox) remix. Looking past the new and  bizarrely minimal stylization of both beat-makers' names, the pairing does not disappoint. Similar to LyCoOx's recent dupla with with Puto Marcio "Love and Love" further explores the sample-based style. A long introduction crafts the melody to taste. Initially, only elements of the original - piano and string are - are fashioned in, for lack of a better word, a glitchy at way. Suddenly, a change begins to occur. The re-creation begins. Ambient synth is added as well as a sneaky semba guitar. By the time Sia's voice appear, lyrics content is rendered mute point; only the sounds are of important. The mere two lines from "My Love" serve just as much a melodic as rhythmic purpose.

The song itself is laid out in a familiar manner: two sections divided by an interlude. First on the track, after a is DMixbwé with a kick/hi-hat beat; claps and cowbell provide syncopation. Only comparisons, unfortunately, once again, can be used to describe the samples and none do them justice. The piano and vocals, along with the beat, create a helix of different rhythms. Well mixed bass lingers around the, as well, making an impression all its own. During the interlude, percussion vanishes. In a brief appearance LyCoOx gives the track a batuco flavor with new percussive elements. Bass is present, is not used to explore with the groove with equal ferocity.

As unlikely as romantic, vegetarian vampires, the joint forces have accomplished a feat just as unlikely: making a very good dance track from an otherwise unremarkable number.


- John Noggle

LyCoOx x Puto Marcio [TMP] - "DO MARAAAAAAAAAAH"

Terror comes in many forms.

Such has apparently become the norm; a sentiment the world over has become much too privy of.

In some instances, the aftermath focuses on the culprit. Why these atrocities be committed? What could have been done to prevent such awful events? Other times, focus shifts towards the victims. Sentiment focus on how best to honor the slain. It is this second scenario that has unfolded following the 7 January 2015. Two gunmen entered a French periodical and opened fire. Hostages were taken, as well, in a kosher market. Free speech, or an offensive use thereof, was cited as the motivation. Resistance through expression has thus become the preferred tool of resilience.

Perhaps it is for this reasons that the original title for the track below, released two days later, was "Grito dos franceses" ("Shouts of the French")

Then again, maybe it was just a clever way to get hits on a track that was, otherwise, quietly screaming in the vault. Current events are the bane of relevance. Either way, the author has deemed any speculation unseemly. The object is, after all, a song without lyrics. All the while, individuals with notable sway - public figures ranging from politicians to an entertainer - have already made efforts to boost their own profiles.

Plus the Tia Maria has been hard at work. While Dj b.boy has steadily been releasing loosies, the  DJs in question have maintained an output all their own. Puto Marcio has been added to the collecton of TMP mixes. In addition to the brief, "Mix Louco - Batidas" (which is free to download), a longer promotional set for Principe Discos was also made available to stream. LyCoOx, never one to take a breather, gave the world a personalized Christmas present, only to turn around and help a fellow beat-maker with a dupla.

The song below is a beast all its own. Like the Hitchock scene from whence the accompanying picture is pulled, what follows is violent and psychotic. A mid to fast tempo track, "DO MARAAAAAAAAAAH" is a sample-based batida; a glitchy, indescribable style TMP continues to mold. The aggressive tone is set immediately. Straightforward screams demand attention. Though not traditionally appealing, the shouting voices serve both as a cornerstone of the song. As the underlying underlying cymbal beat is constructed, a shortened, pitch adjusted variant syncopates on the third notes. It is this package of sounds which provides the head. Otherwise, "DO MARAAAAAAAAAAH" is divided into two sections divided by an interlude; each eight bars long, and further division into two four bar sections. Heavily percussive, the first section uses drums just as much for melody as rhythm. Bass is boosted during the latter half providing a much heavier feel. The LyCoOx drumm effect staple makes an appearance as well. While equally as percussive - claps are added into the mix - Marcio's half, the bass groove is given proper attention.

If the track is meant to be provocative, it does an excellent job of achieving just such a goal


- John Noggle

DJ Set I can't Ado Much About - Breyth "Afrohouse Mixtape EP 1"

A world without mixtapes is the same as a world without any fun.

Pack up the bouncy castle, the party is over.

Although truth the author is not old enough to claim any cognizance of mixtapes in literal cassette form, the above statement shall not be retracted; even if gis generation is related more to P2P programs than TDK's and Peter Gabriel.

Regardless, mixtapes are a means of distributing songs and have adapted with the time. New forms have arisen. Genres vary and styles differ. No two are exactly the same; some are compilations, some are projects with a vision, and some simply never get released (here's looking at Sosa's Mansion Musick). But whether artist driven, or DJ co-signed, the aim of any mixtape is to circumvent the industry complex. The people deserve new sounds. Mixtapes have become so pervasive, news stories have been published on the matter. Capitol darling John Lennon may have said, "Music is everybody's possession. It's only publishers who think that people own it," but new and novels ways of limiting mixtapes are alive and well.

The mixtape below, however, is strange and intriguing all its own.

Titled "Afro House Mixtape 2015," Lisbon's Breyth - real name Cledy Figueira - first released his New Year's mixtape on 3 January. The original thirty minute mix was comparable to Firmeza's "Mix Mandamentos do Afro," though perhaps more accessible. Dotorado's "African Scream" made a presence, as well as an afro-house remix of Justin Timberlake's portion on "Holy Grail." Throughout the tape, instrumentals were interspersed among vocal tracks; keeping listeners and dancers engaged. While the genres were subject to change - afro-house to luso-rap to batida/kuduro - both tempo and tone were consistent. Vibes were energetic and the mood never dipped too low. In essence, the mix served as a recap of 2014 while providing an outlook of the year to come

Alas, the release vanished.

No explanation was needed, because a reason was required. The music was tenderly mixed and lovingly shared, and free to download too. Peculiarly enough, though, a replacement mix arrived over the weekend. Titled, "Afrohouse Mixtape EP 1," with a run time that is five minutes longer. The cover art, too, is distinctly different. Far from adding a song or two onto the original, this second incarnation is a unique creation. The only carry-over from the original is the Justin Timberlake/Jay-Z remix mentioned above; a sign of mostly English language lyrics to come. By and large, what follows is essentially house. Percussion on each track is  varied and spirited, and the bass four to the floor, but the overall feel is more indebted to disco and Chicago than Luanda or Lisbon. Tambourine and shaker quietly provide support. Breyth's mixing, however, does not syncopate hard. Melodically, the songs may feature the odd traditional element, but are, for the most part, carried by soft synths reminiscent of South African house songs. A long warm-up aside, the transitions are typically seamless transitions. Detriments aside, "Afrohouse Mixtape EP 1" provides, if nothing else, a welcome introductory set for the uninitiated, or otherwise for fans of EDM at large looking to add variety to the collection (as it is free to download)

- John Noggle

A Jamaican Interlude

The comedic value of hallways should never be forgotten.

Factories serve mostly as economic fodder. Chocolate and assembly lines only came to prominence when Lucille Ball developed a sweet tooth. Mirrors, for the most part, are not a force to be reckoned with. The Marx Brothers merely started a trend of fools outwitted by a clever mime. And it was only the mind of Charlie Chaplin that was able once again banana peels fresh. Consider that "The Tramp" was the one to suggest victims of fruit induced gags should not hit the floor at all, but instead fall down a manhole for added effect.

For his part, Benny Hill is more than the "Yakety Sax," man. Most situations are more palatable when accompanied by Benny Hill's theme song. Still, the British TV icon was more than a goofy song. The hallway chase routine has been imitated by the Looney Tunes, South Park and Scooby Doo to name a few; and has proven legendary it its own right

Light entertainment aside, the following post concerns halls, but of a different nature nature altogether. Far from anything worth laughing at, what follows are a couple dancehall tracks released within the past week.

Like the Trap God, walls contain the World Boss physically. Just because Vybz Kartel is behind bars, though, does not mean songs credited to his name will suddenly stop appearing. Such is the case of "Change Mi (Unruly)" which released on the web just this past Wednesday care of Gaza Priince Entertainment. The vocals combines two styles: the hook is features clean, auto-tune singing, as heard on last summer's "Miami Vice Episode," while the verse features rough, raspy singing not unlike what was heard "Mind Dutty." The rhythm, however, is new; the song below is performed over a "Brit Jam Flesh Riddim." In contrast to "Paradise," however, "Change Mi (Unruly)" is harder despite the smooth synth melody; more snare and crash cymbal does the trick. Then again, each song showcases a different character altogether. Free Addi Innocent (he ain't got clone).



Where dancehall mainstays are concerned, a new Beenie Man track also appeared this week. Granted, the artist in question is perhaps most familiar to American audiences due to content controversy. Even prior to the current progressive wave overcoming society in respect to same-sex relationships, Beenie Man's "slackness" was not taken too kindly. Still, the man is more than a past news item. As part of the Lockecity Music Group Promo released on Wednesday, "Hold Him" a quick song over the "Autoban Riddim." In addition to the kick/hi-hat/bell percussion, the rhythm is carried by electric guitar and synth. The overall feeling is somewhat old-school. Although run time just eclipses the two-minute mark, an introduction, two-bars, multiple choruses, and a bridge is heard; which is to say, the audience is treated to a full gamut of vibes



While not technically not a dancehall tune, what follows is too good to exclude. From Kingston by way of Sicily comes Alborosie and the Shengen band. Below is the group's first single of the year. A noticeably dub-y song, plenty of synth and reverb is heard throughout "Poser". The track, though, is carried by heavy bass and Alborosie's effortless toasting. A piano can be heard as well, but the arrangement strays from excess sounds. Despite the insertion miscellaneous effects, the melody does not distract from the song's main attraction: the front man. Best of all, "Poser" is available to download for free. A quick quick of the downward facing arrow is certainly recommended.  



This last selection features a common name. For the second time in this post, Beenie Man make an appearance; now lending his talents towards a collaboration. In tune with the efforts of vocalist Savage and Victory Squad Entertainment comes "Dollars A Turn." Despite the noticeably imperfect mastering, as a whole the song is a pleasure. High and low pitched vocals play to each other well. Each of the production risks also elicit positive results. The melody, for instance, is carried by a combination of a short, nearly jungle-like, string phrase; interchangeable with the synth that follows. Ventures into vocal after effects provide a change in pace. The rhythm is carried by a hi-hat heavy beat, but it is the underlying bass which is the real killer. Unfortunately, it is this last portion, that would benefit most from revisiting the final mix because the bass frequencies groove heavy. Alas, this song is also available to download free of charge.

- John Noggle

Dj Edyl0x [Paname Beats] x LyCoOx [TMP] - "Batucada"

Miss Jane is the only girl anyone can ever need

Mary, as her friends call her, is willing provide any interested man - or woman - attention, joy, and a good meal when the time calls for it. The services rendered by Mary Jane are ultimately more fruitful than what white girl is able to conjure.

No, not the ice-box from down-under, the other dangerous white girl.

Some advice is timeless. It was all the way back in 1987 that a certain British reggae singer sang "Do not sniff coke, only smoke the sensimilla." And where it is directed at a prize fighter or the average music fan, these words still apply in 2015. But as catchy as Pato Banton's hit record was, it was far from his best. The man's best work came under duress. Only after being captured, and recaptured, by a Professor most mad did Banton pure release dub gold.

While an echo chamber prophet DJ Edyl0x is not, does appear to be "Jamaikano" part of his name.

A third remix artist, a third beat-maker, and a third hair-style innovator, Edyl0x has an undeniable split-personality. Appropriately, then, the man behind PANAME Beats has multiple residences. Located south of the River Tejo, about twenty fives miles outside of Lisbon, real name Edmilson, creates mid-tempo afro-house tracks from Vale de Amoreira. Jamaikano's melodies are  smooth, extensive; but never crowded. After all, the very talented Mr. Edyl0x is basic by any means. Vocals are rarely heard on an these tracks. Traditional instruments, not unlike accordion, though, have been known to appear. Simultaneously based out of Juvisy-sur-Orgre - about 11 miles south-east of Paris - Edyl0x is willing to forgo a four to the four bass and EDM stylings for a deep groove and guitar; or perhaps xylophone and diverse percussion. Also a frequent collaborator with Black 'n' Power Beats, most captivating is the man's apparent love for funana.

On his first track of 2015, though, Edyl0x has released a track in a familiar form with a familiar character.

What follows is a fast, aggressive, and synth-heavy batuco; a dupla with none other than the Dance Mamba himself, Dj LyCoOx. Composed in a collaborative style, "Batucada" begins after four bars of introduction. The sound of synths sounds off like sirens before the beat - heavily indebted to kuduro, much like the bassline - kicks in. Beyond interchangeable kick/hi-hat and kick/snare rhythms, the batuco percussion syncopates on the eighth notes. Results are electric. Rare xocal samples hype the track's energy, providing subtle syncopation later on, but to great effect. It is the manner in which Edyl0x alters a brief, four-beat synth melody throughout his two extended portions, however that merits applause For his part, LyCoOx might as well bulk "Batucada" with an uncut inject of clenbuterol. On a mere 8-bars, divided into two sections, LyCoOx first recklessly incorporates a slew on harmonic synths only to obliterate the beat with a high pitched synth.

The result is a track that not only begins 2015 with a solid foundation, but it sure to make Mary's friends very wealthy.

- John Noggle

Puto Babaa [AvP] - "AfriCanScream (Dirty Remix)"

Size does matter. The author comes not to stifle a debate, but rather to open a discussion.

Such is the nature of this, the first remix post of 2015; though it revolves around a trac released in February of 2014.

DJ Dotorado's sole feature on these pages is representative of neither his reach or nor importance. The DJs di Puro Ritmo producer, after all, is responsible for a song of mass infraction. Dotorado drives the masses towards mayhem and madness with an Afro-house song  titled "African Scream,". A marimba/vocal combination creates a melody of mythic proportions; guitar, too, makes an appearance on Mount Olympus. The bass may be four-to-the-floor, but Dotorado will go to the end of the Earth to draw the audience into his dance ritual. Rhythm wise, "African Scream" has a typical, snare-based Angolan Afro-house beat, syncopated by static. In the end, the reason for why "African Scream" is just beyond grasp; which is, perhaps, exactly what makes any creative endeavor worth enjoying, the ability to turn off logic while maximizing pleasure.

Alas, remixes have been plentiful. Even if not much can be done to improve "African Scream," this does not mean that DJs have seldom tried. Of note  are two releases. First, released in July, is a track by Dj Yudifox and TMP's Puto Marcio. On their "African Scream [Remix]" The bass is boosted into the red. Additional percussion is added as well. Glaringly, though, the strength of the original truly lies in the transcendent melody; and as such is left intact.

In contrast, then, is the second selection. MaboOku's interpretation appeared a month later and is noticeably different in approach. Rather than exacerbate or elaborate, the CDM master-at-work chooses, like Monty Python before him, to create something completely different; but no tape recorders were placed neared anyone's nostrils. Instead, a hi-hat are added. The drum pattern changes. Suddenly the rhythm is dissonant; tempo remains the same but the perceived lack of perfection significantly elevates listeners' collective heart-rate. Not only do the female vocals go through a pitch change, but the marimbas are eliminated altogether. The audience, instead, is left to focus on the glorious chanting throughout "African Scream (Rmx)."

All of which is best entrusted to the past. Today is a new day, the seventh, in fact, of 2015.

As opposed to the "Two Clips to Welcome the New Year," PutOBabaa has been featured here before; just not as a solo artist, and much to the author's shame. After all, the Queluz beat-maker is a force to be reckoned with. Creative with the percussion, that kid Baba and his affinity for high-pitched melodies, particularly MIDI horns, makes notably good afro-house in an Angolan style. By and large, the tempo of Baba tracks maintains an average pace. The producer is at his best, though, when combining slow and fast elements into his songs. Teaming up with WilliCox last summer, the pair released a very good remix to Novalima's "Chinchivi," which relied heavily on sample. Since then, Babaa has ceased affiliating himself with Mãn Juh Pruduções, finding a new a home with the equally quixotic Avessos Recordz and Dj Mix BwÉ.

For his first release of 2015, Puto Babaa makes his own attempt at a remix for "African Scream." Released four days ago, "AfriCanScream (Dirty Remix)" combines elements of both the Yudifox/Puto Marcio and MaboOku tracks; the privilege of time. Of immediate note is that bass levels have been increased to window rattling levels. Providing no glassware is damaged in the process, listeners will appreciate the excellent mixing. Ins pite of a quicker tempo, the song is in line with Dotorado's original. Baba opts for a single drum rhythm; crash cymbals marking transitions. Marimbas, too, have been eliminated. The result is a much more spacious track, leaving an impression of minimalism with the vocal sample - cut up and altered to taste - carrying melodic duties. While a good track, "AfriCanScream (Dirty Remix)" suffers the same fate as Baba's last track of 2014. Although "21 de Dezemebro" is also an adept number, the songs struggles to maintain attention with subtle bass and sample changes. Hardly a matter of hard versus soft: simply put, insufficient variety is heard. Without the musical accompaniment of other tracks in a mix, only die-hard fans with visit for repeat listens independent of larger context.

- John Noggle

Two Clips to welcome the New Year

Stonehenge will not not be done tomorrow.

Any and all songs concerning 'Where the demons dwell' shall not be performed today; or, for that matter, at any time in the future.

No little people were harmed in the making of this decision. As a matter of fact, the rationale is quite simple: Calendars across the globe have had their collective last page turned.

The air is still cool but the breeze, it feels different. Police officers have once again begun to exposing their backs to the mayor. Times Square has freed itself from the reign of terror wrought by oversized glass and excessive confetti. College football is nearly forgone a forgone conclusion, it can be said that normalcy has returned. "Auld Lang Syne" might as well be an instrumental; it's lyrics have slump into obscurity for another year. The country writ large is back to its typical existence May God bless America before it drinks and goes home once again.

 The new year - this year of our Lord, two-thousand and fifteen - has commenced. All sorts of new is waiting to be uncovered. Which is why Stonehenge, not unlike 1980s hair metal, is a relic best left in the past. As would only be appropriate, then, what follows are but two morsels - two, hor d'oeuvres, - to whet the appetite.

Neither of the two artists below has featured on these pages...until now.

Calling into question the authenticity of that lead in, however, is, SenexBeatzZ. The independent beat-maker out of Lisbon proper, real name Adriano Pedro, was, after all, mentioned in passing during the year-end festivities; and for good reason for good reason. SenexBeatzZ is a hard-hitter. The producer specializes in slow, zouk beats that pack a mean-hook; his specialty being a synthesizer rich haymaker in a "ghetto zouk" style. But Pedro's music is more than a "flavor of the day." Senex makes undeniably heavy beats; affixing dancers to the floor, only to lift them back up with a big ensemble and percussive variety before the ten. Point being that SenexBeatzZ is no amateur, and even further from a one-dimensional presence. Synths are the man's predominant melodic tool, but vocals and strings will make assing appearances as well.

To bring in the new year, though, SenexBeatzZ relies on the formular that works. Released on the 2nd of January, "GhettoZouk (1) 2015" is a hot, twelve-bar zouk instrumental with 8-beat bars. The track -  a demo with an A-B-A structure - is based around a woodblock/kick-drum beat; a scraper provides additional percussive intrigue. A melodic and harmonic synth are present from the introduction onward, but the main attraction does not begin until the verse. During the B section, SenexBeatzZ brings in a hi-hat to mark the fourth beats while a third, high pitched hijacks the melody. The result is absolutely mental, and a sign of good things to come (even if it is just a minute long).



Dj Edward is a virtual unknown with an affinity for hockey headwear. But setting aside a partiality for the original-six, the once independent beat-maker has apparently been adopted into Mãn Juh Pruduções family. Much like EdiCerelac, Edward's roots rest Queluz, within the community of Pendão, some eight miles north-east of Lisbon proper. Despite showing a preference for remixes, it is the original, instrumental "Maluco Howe" tracks that leave a lasting impression. Edward's influences are literally, more so than usual, afro-house. A Chicago crescendo is just as likely as glorious percussive dissonance; synths typically carry these melodies. Mid-tempo tracks are generally the norm, Edward is also no stranger to faster kuduro/batida takes

The brevemente below is, thus, an outlier. Regardless, the track is labeled as ImprovizoNoKuduro. Expectations must be maintained high. Similar to the SnexBeazZ demo above, "Milhões Brevemente" is also a hot 12-bar instrumental with 8-beat bars. Despite breakneck pace is set by snare/hi-hat, and A-B-C structure is composed. Two melodicas take charge of harmony and melody, each with a brief four bar phrase. As might be expected, the bassline is typical kuduro; of greater surprise, however, is the eighth note, batida breakdown during the second section that eliminates the necessity for absolute labels. Edward, as it turns out, is a hidden talent that will hopefully be heard from again...sooner rather than later.



- John Noggle