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
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