Controversy is a constantly changing game.
At no point in the past have rabble-rousers, malcontents, and trolls at large been more disadvantaged.
Suddenly, form is essential. Generating attention in this changing media landscape is not, and cannot, be the designated work of mere amateurs. Bygone are simpler days; call in the professionals. No one is calling for Herbert Hoover again, but keeping the ice-rink's meanest pipe swingers on payroll is equally as passe. This is a post white bronco world - mechanical or otherwise - and hype is no longer a commodity so much as a luxury. Reconsider the electric razor, dismiss the photographers, and a cease contacting that former child star.
For a purposive picture-perfect freak out, just find the ugliest part of your body, and expose it.
Buzz, though, can be all in a name. Look no further than the Mothers of Inventions. Musical innovators in their own right, the proverbial envelope-pushing group was continually plagued by standards of decency. Yet, Zappa's band allowed the body of work to speak for itself. Which, coincidentally, is also the case for a different pair of Mothers.
Made up of MaboOku and LiloCox, Casa da Mãe leads a humble existence despite being heir apparents. As with most greatness, quality is at a maximum even if effort seems to be a a minimum; a talent in and of itself; immaculately mastered, impulsively tempered, and unrestrained by scene conventions. Yet no proper CDM release has been spotted since October's. The most recent track - a melodically flamboyant, percussively diverse, and intestine disrupting solo effort LiloCox - continued the duo's Afro-house turn. For his part, MaboOku was featured with a mix on the pages of FACT prior to the end of last year. Meanwhile, the world continues to catch up.
But, the author digresses, CDM has started 2015 on an obscene note. The first single from the upcoming "Malucos da Raiz EP" is an uncompromising tarraxo. Like Zappa in Baltimore, what begins as woman breathing heavily escalates quickly. The structure on "Safadas da Noite" is unusually direct: Introduction-A-interlude-B-C-A. The contents, however, are delightfully dense. The snare/clap beat on the introduction mutates into a cacophonous collection. Soon after, the baseboard begins crashing into the wall. A bubbly-synth enters the melody, otherwise carried by a percussive string instrument, on third notes. For the verse sections, LiloCox and MaboOku bring with thjem a more typical, nearly zouk beat built around a combination snare/kick. Alongside new syncopated vocals is a harmonic synth. Pay no heed to the chain in the corner; it is best not to mind the small things. Plus, the pair has promptly returned to the start.
As the saying go: there is no such thing as bad publicity. The kind of publicity that comes from a good and consistent body of work, though, cannot be fabricated; and it just so happens the after a couple of months, CDM remains ahead of everyone else.
- John Noggle
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