Monday Morsels (30 March 2015)

Rounding up the best of the week-end in one convenient post

Without warning, all the springs of the great deep burst forth.

Floodgates did not even attempt to resist. Unable to stop the high pressure flow, hot takes began to fall upon the earth for forty minutes; maybe even forty hours.

To be precise, the wave crested last night. Both rhyme and reason are still in high demand, though. Meanwhile, it seems that one color is much more prevalent than all the others. Jesse Jackson, Jr.  closer to freedom than this time last week, but no rainbow coalition is in sight. The target is narrow and its scope well defined. In the process, a shade of teal not unlike a certain 1990s basketball logo has become a loyalty oath for this burgeoning movement.

With alarming frequency, social media avatars began to change this past Sunday. Not too long ago, a campaign of this nature would have been considered the proprietary realm of a previously unknown activist group. But the statement being last night and today are not of a political nature. Equal rights have not been demanded. Likewise, no request has been made to capture an African warlord has not. No one is trying to stop online piracy.

A base level subscription, however, has gleefully been offered.

Somewhere on this green Earth, an anonymous marketing-savant seized upon an idea. The potential overlap between online activism and guerilla brand building was exposed. Needless to say, a prize should not be out of the question for this faceless public relations professional. On an individual level, the author became aware that Sean Carter would be launching a music streaming service over the course of a two-minute span where no prior notion existed. Roll out the carpet and break put the finest refreshments! A gala is well in order.

In the meantime, the music listening public is left to make sense of a post-Tidal landscape.

The financial strain upon the music industry has been well documented. Relying on a business model dating back to Prohibition-era speakeasies, record labels have had difficulty adapting to the digital world. Unauthorized reproductions are widely available. Traditional media platforms, such as the airwaves, have been belittled by on-demand services. "Pay what you want," on the other hand, rely on active engagement rather than passive enjoyment and better serve a niche market than the general populace. Which is, perhaps, why it seems that the last, surface-level market inefficiency has not been exploited: audio quality. Much like Beats by Dre and Neil Young's Pono, Tidal seeks to build a customer base upon the promise of authenticity. Any other - especially lossy - forms of listening to music is to cheat ears out of a genuine experience.

It is as if a strong Norse warrior finally reached Valhalla only to listen to an understudy recite Bragi's songs; or so the thought process goes. 

And while the author will address neither the business model nor the feasibility of a subscription based service when legal, free-of-charge options still exist, one observation remains to be made. Cyberspace is the great equalizer. As a distribution model, any artist is suddenly able to reach any audience in any variety of locations. But while nearly every endeavor from iTunes to BitTorrent has sought to expand the listener base, Tidal appears to be proud of an attempt to constrict the available fan base.

Only one solution exists: grab two of each album you know and love and head into the ark. The time is ripe for braving the audio storm.

                                                                                                                                                                   

Excessive ranting and raving now sufficed, onwards to this week's concise selections.. 

Beyonce is widely considered royalty. But the former Destiny's Child singer - and better half the afore mentioned Mr. Carter - is far from the original recording artist royalty.

That title, in the author's less that humble opinion, can only be showered on Fania All-Star herself, Celia Cruz. With lungs the size of Africa, Cruz is also responsible for what is arguably the most memorable ad-lib in salsa: Azuuuuucar.

The remix below, however, has much more in common with Chicago than the Barrio itself. Appearing last Friday, the track below is a house remix laid out by the Traxman himself. Portions of the chorus from the original Johnny Pacheco recording and set to booming four-to-the-floor kick. The mid-tempo rhythm  largely retains the polyrhythmic salsa time signature. Traces of the original piano, as well as the horn section riffs are used to great effect.

Those seeking a showstopper, though, are best advised to listen for the funky bass. Very enjoyable song.


The ways for consuming media are as varied as styles of dance.

Naturally, then, the music which accompanies such gyrations is equally as diverse.

Example A is Dj LyCoOx. The Tia Maria beat-maker is best known for quick batidas, but Dance Mamba is not limited by style. Whether a tarraxo, a kuduro, or a remix LyCoOx has shown a consistent abilty to shock and awe, and the song below is no exception. Titled "Hardkutechnoduro," the track is question sees the producer explore a less frequently exhibited aspect of his repertoire. Similar to  LyCoOx's last Monday contribution, the track is highly percussive. But what makes the song below unique is the blinding quick tempo set by the hi-hat/snare. Syncopated by two different vocal samples, the distant sound of additional digital drums provide a hitch on odd notes all the while. The body of the song is further divided by an interlude reminiscent of hardstyle.

A high energy, fun loosie, "Hardkutechnoduro," hardly stands alone; bringing to mind both Karfox and the "hard techno mix" locks shared earlier this year.



Full disclosure: the author does not consider himself to be a devout fan of the beat-maker that follows.

Opinions, however, are not dogma and, as such, should often times be challenged.

Luckily, the present is just as good a moment to engage in just such questioning. Released yesterday with the title "Os 3minutos Dos 3 Mambos," the song is, on the surface, not much different from the rest of Puto Bronze's previous work me. The aesthetic is unrepentantly literal. MIDI instruments run amok. Likewise, the kick/snare kuduro drums unmistakable.

But "Os 3minutos Dos 3 Mambos," is different. Following a two-tier introduction - which include the sounds of an otherwise AWOL piano and synth - the initial hi-hat/kick rhythm changes kick/snare with a hi-hat syncopation. The trumpet establishes the song's head and performs for the three verses. Far from a one-dimensional song, though, a flute is heard as well. But most prominent of all is the bass portion well. Made up of only three notes, the groove four-beat groove is massive nonetheless.

All-around, an excellent effort. The download is certainly recommended.

- J.N.

A Noggle Brain Trust, LLP. website

I-Octane - "Life Ain't Easy"

Where there is smoke, fire is sure to follow.

And where there is fire, Shotgun Willie is not far behind as he chases the trail of smoke left behind.

Country western is part of the American psyche. Obstinate to change, the music is highly melodic and the lyrics are far from uplifting. Just one look at his extensive canon and readers will find that the Red-headed stranger is no exception. Still, Willie Nelson is not the average country crooner. Despite a now advanced age, the man is still every bit an outlaw as well as a secretly smooth capitalist. The man, the myth, the legend is even considering opening a chain of marijuana dispensaries under the guise of "Willie's Reserve."

Suddenly, the connection between Jamaican music and the sound of the Appalachians is slightly less strained.

Shared last week on reggaeville, what follows is a new riddim set to be released in early April by Chimney Records called "Country Bus." The style is rootsy and the tempo is slow. Foregoing diverse instrumentation, the track's elegance comes in variation. Reverb washes over the guitar like black light on a poster; and the track is all the brighter for it. Harmony is provided by light synth in addition to backing vocals and adlibs. Rhythmically, the drums alter from verse to chorus; preferring snare and woodblock respectively

Although merely one selection from a field of fourteen cuts, the selection below comes on behalf of I-Octane. Titled "Life Ain't Easy,"  the clean vocals deliver social consciousness song. Laid out as Intro-Chorus-Verse-Pre chorus-Chorus-Bridge-Chorus-Outro the number is primed to be mixed in a club setting, although it does not take away from the song as a whole.



Notable Mention: Tarrus Riley - "Honesty"

For the sake of continuity, a song of Jamaican origin will receive second billing as well.

The similarities between the two numbers, however, are decidedly limited.

Yes, Tarrus Riley did cut a record using the "Country Bus Riddim," but what follows is much more elaborate. Titled, "Honesty," the subject matter is love rather than society. As such, the song below follows a traditional pop song structure. The instrumentation is much more diverse as well. Horns may only be heard during the introduction but plenty of synth and piano follow like a coughs after the still. But perhaps of greater interest is the hard rock guitar that appears in the bridge and outro. Digital claps are suddenly heard as a Hammond organ carries the harmony. Where rhythm is concerned, though, the track is far from static; tambourine assisting in syncopation.

But the real treat - nothing short of pleasurable - is listening to Riley's vibrato


- J.N.

A Noggle Brain Trust, LLP. website

Le'Troy Mack feat. Lan Louie- "Changin' Thangs"

Do not read the headlines.

If at all possible, try and avoid the news.

There are no stories worth telling, and those that are passed around have nothing to share. Yet eyeballs are at a premium. Sometimes a little orthographic teasing is all a publication needs to break into the market. Luckily there is always a state in the union willing to go high noon on the nation. For the time being Oklahoma is the new Arizona.

Kansas, you are not much further behind.

Republicans swept into congress, and as such, Senator James Inhofe - senate Blackbeard and renown climate enthusiast  - has enjoyed a more prominent profile. The Curse of the Based God will simply not leave Kevin Durant alone. Then, of course, there is the case of a rogue university a cappella group.

But the selection below fits in by sheer geographic more than anything else.

Much like the recently featured Muskogee Tre, Le'Troy Mack is an Oklahoma based rapper. Coming off a long playing release in 2014 and, as such the spitter has released a new video. Premiering yesterday, the song below is a titled "Changin' Thangs."  While production credits are not available, the track is serviceable. Beginning with a soul sample, the rhythm is similarly light. The beat is carried by hi-hat/clap as the crash from the sample is heard in support. Bass lurks in the secondary like Roy Williams. Piano is the most prominent feature in the run. Synth provides harmony during verses. When Lan Louie jumps on the hook, though, a second is heard amidst the ad-libs.

Lyrically an image is projected. After all, "Changing Thangs is a boasting recorder with a personal touch. Like Russell Westbrook the performance speaks for itself. Figures of the past -  family members, friends, teachers, and rappers  - are put into verses set in the present where an older improved version of the person they knew proves them wrong. If nothing else, though, a conclusion is sorely missing as the track takes a full minute to play out after the final chorus.

The is flow are amorphous. Reminiscent alternative Chicago, there is certainly potential



Notable Mention: Bishop Nehru - "Harmony in a Glass [Prod. Bishy Nehru]"

Close to its limit, the week is quickly coming to a close.

Only so many Doom mentions can be made in a seven day span

Still, one more must be made. The Bishop Nehru song below, titled "Harmony in a Glass," is a self-produced number. An single electric guitar carries the run as a hi-hat/clap/kick combination lays out the rhythm. None, however, overshadow the bass. Slinking across eight beats, the groove is smooth and heavy. An alien on the Earth, Nehru covers ground like the silver surfer. Non-sequiturs are scattered around the two verses/choruses with a technical writing style pushed forward by a slew of internal rhymes. Appropriately, the message is between the lines. Enunciation is clear by the microphone selection is not. Careful attention is required as Nehru navigates an extended metaphor of the human body as a vessel half full that culminates with, "I got a glass that's filled but I'm gonna clean it up / In the next refill Imma fill it to the top"

All that being raw in content and sound, Nehru is aging well. 

- J.N.

A Noggle Brain Trust, LLP. website

Dj Edý & dj kingfo0xx [BnPB] - "Velocidade Furiosa"

To give up is cowardly action

Failing to ever engage is a much more appropriate solution.

Such is the relationship between the author and social media. What began as Vine and Instagram has expanded. Snapchat is not longer the trendiest appt around. Once again, the horizon has inched ever closer. Calculating the speed at which the environment changes is impossible. Now on the marketplace is the ability for live mobile streaming. Whether Periscope or Meerkat will succeed, though, is a not a discussion suited best for these pages.

After all the, the subject is even relevant to the selection.

Which is to say that empathy is more likely than empathy. The song below is titled "Velocidade Furiosa," after all. Released today, the responsible beat-makers are Dj Edý & dj kingfo0xx; but like Friendster, the origins reach further. On Monday a track appeared on the KingFox account called "Melodia." Appropriately, the song is synth heavy; four are featured in total as well as guitar and vocals. There are, however, no drums. Trap crescendos are used in transition as well as this oft heard drum effect. Otherwise no percussion is heard. It is as if a template has been provided anyone to add a beat.

Which is precisely what the Black 'n' Power Beats duo does on , "Velocidade Furiosa," after adding a quick afro-house rhythm. The bridge is poked into the middle of the track as the chorus repeats once at the end. All the synths remains and have had their pitch adjusted down. On the odd notes, a new vocals appear in the second verse. A few new sounds create their space in the harmony but not in a major way.

Not parallel to the virtual reality purchase, it is still interesting to see an idea develop. Both songs are available for download.



Notable Mention: Dj Mika - "Pa Nhas Rapazis"

Featured second is a song somewhere between Google Buzz and Plus; not entirely relevant, and at some point of speciality interest

That is what it feels like - to me, at least, - when the subject of funana comes up on these pages.

Mostly the same words are typed, and like a bad chain mail they always seem to reappear. Today is no exception. What follows is a quick funana track from Dj Mika. Titled, "Pa Nhas Rapazis" the brief beat begins after a long introduction as it transitions to the hi-hat/snare beat. A bass is maintaining the groove as the four beat synth melody moves the song forward. Chains eventually syncopate the song. The outro, however, possesses a minor surprise as an accordion carries the melody for the last bar just past the finish line

- J.N.

A Noggle Brain Trust, LLP. website

Chris Crack [newdealcrew] - "I Feel Delicious"

Chicago's reputation is wide and varied.

Rich legacies can be found in sports, the finer points of culinary creation (before and after The Jungle), and whatever. The entire span of the spectrum is covered.

Notoriety, however, is a much more suitable a word for describing the city's political history. Illinois is both "A state that is untouchable like Elliot Ness" and home to a former UN ambassador. Which is to say their is never a dull moment. The political tradewind, as it were, are always blowing; now more than ever as an incumbent mayor fights off the run-off challenge of a feisty contender.

But the present does not concern getting out the vote. Chris Crack is busy crafting a platform. One track at a time, the newdealcrew MC is establishing where he stands; publishing a new press release just yesterday. Titled, "I Feel Delicious," production credits are attributed to boathouse. Driven by a kick/snare rhythm, hi-hat triplets adorn the rhythm like horns on a Mingus song. Absent Dannie Richmond, though, an additional drum hitches. The melody is snug as can be; fuzzy guitar on the harmony and sax on the melody.

Odd as it seems the, jazz reference above is not entirely off base. Crack delivers two slice of life verses and two choruses. His flow is slow and elaborated with prosodic switches. Without a doubt, the second verse - beginning with the line "Gimme the check if it's decent, Gleason / Like I be jackin' off they lackin' all; tracked it with a backhoe" - is the superior cut. Partying with Satchmo and Simpsons references, the joint is packed with plenty of references to appease the weed rap aficionados.

Very wavvy, "I Feel Delicious" is the second loosie of its kind this month. More important, Chris Crack is not waiting until its warm out to handle his business. The profile picture is of shag carpeting - silk sheets on the single cover - which is cozy, to say the least. As per usual, any and all conspiracies will be addressed at a later time.


Notable Mention:  Saba, Carl, & Taylor Bennett - "What Kings Do [Prod. by Odd Couple]"

Like a film, political campaigns involve an entire crew, but usually the most vocal contributor receives credit.

Candidates are only the stand-in; staffers do all the real work. And like as Redford tells Boyle at the end of the candidate: What do we do now?

The song below is a strong contender to answer just such a question. Produced by Alex Wiley's in-house producer, the beat is sample-based. Rooted in soul, a digital snare is plays with the source material's drums. First on the track is Saba goes into some 90s nostalgia amid the boasting track, spinning some Raekwon while his girl chooses Pretty Tony. The high point, though, is the switch to a sing-song delivery. For the second verse, Carl (Hurt Everybody) keeps a similar flow, goes into stream-of-consciousness message to a significant other. THen the record flips. Drums most eliminated, three synths and bass take over. Both verses combine, however, for the final verse. Taylor Bennett provides the strongest contribution. The quick, spastic delivery on a well written social consciousness verse.

Needless to say - like going out to vote - the free download is recommended.



- J.N.

A Noggle Brain Trust, LLP. website

Four Sounds from Firma do Txiga

The floodgates have been opened.

Resistance is not trash. Classic was the dry status quo

Could there possibly be a saving grace? In the midst of this hydrated disaster, is there glimmer hope? The says "yes." Lil Wayne once said, "I know some folk that live by the levy / That keep on telling me they heard explosions," but sabotage is fortunately not the case at hand. 

No foul play can reasonably be expected from the selections at hand

After all, the sudden influx of Txiga materials is not a complete surprise. Slowly are the tides started to rise.What began as a drizzle just over a week ago has developed into a torrential file dump. The flow cannot be brought to a halt.

But while capacity might have been slightly exaggerated, consistency has not suffered a similar fate. Txiga has released four songs over the course of as many days.

Released this past Friday, "E Lola (Remix)" features a well meaning message of "Happy Friday." Yet neither the song or its lineage, though, are nearly as kind. First appearing in 2014, the original "E Lola" is a remix of an unidentified kizomba song in and of itself. Puto Nuno lays down the beat on a highly percussive tune. The beatmaker syncopates with the sound of a chain with modulated vocals; a conga serves the dual purpose of proposing a melody and creating a polyrhythm. All the while, the bass is serving as the guiding lighthouse. Two months later another remix appears care of Dj Wayne. The original vocals, as well as the sample, have been removed. A djembe takes the role of the conga. But the most stark contrast is that Wayne includes an accordion in the melody.

For the latest incarnation, the two Dj's mentioned above join forces. Not quite a musical Pompeii, relics of both interpretations remain. For all intents and purposes, "E Lola is given a touch up.  Brought back into the fold are the original kizomba singing. Nuno's vocals appear as well; taking on two forms to liven the melody. The chain is replaced with a new sound and the underlying beat is arranged to include more cymbal.

Two days later Wayne reappears with another slow tarraxo. Titled "Ninguem Aguenta," the busy song recalls some of Txiga cohort K30. Slowly - Stalin flooding a Russian city for the sake of a hydroelectric dam kind of slow - the song trudges. Over a kick/hi-hat beat, it seems that Wayne cosumes himself. Claps chase each other. Two synths start playing in addition to the three vocals. A more accurate comparison, though, can perhaps be made to the BNM crew. Style are similar. The song below, for example patiently develops,. An element is occasionally added. Then the interlude plays and the climax unfolds.

Possibly mistaken as quiet, "Ninguem Aguenta" is nothing of the sort: a technical effort with a deep groove.

Not soon after, Wayne reappears with another remix. Similar to "E Lola," the source is a kizomba track; and while simpler, the trajectory is no less interesting. Sung by Angolano Lisboa Santa, the beat appears to have come from a Brazilian producer that goes by the moniker MMK Beatz. Nothing is immediately interesting about the piano/synth melody. Similarly, the snare/finger-snap rhythm is whets the appetite, but not much more. Then the first verse starts. The kick drum joins the snaps and claps to create a more sedate rhythm. Soon after the blunt strums of an electric guitar strum out some additional harmony.

But Wayne is a river. Creativity apparently flowing through him. And as these twisting bodies of water do over time, a path is carved as ground is covered. The selected portion comes near the end of the original "Ela Começou," when a third synth is heard. t which point the path of least resistance is found. Some xylophone is added as well as some minor drum tweaks.

If nothing else, the selection of source material for the brevemente deserve a hand.

Notable Mention: Puto Anderson (a.k.a. Anderson Teixeira) - "JáNemsEI"

The second billing concept is dubious, and never has this sentiment been more evident than the present moment.

Essentially each of the Txiga members has been heard from; NinoO, k30, Nuno, and of course Wayne. But an absence is glaring throughout. A void transcending the screen itself as Anderson Texeira is missing. Granted, a did demo surfaced last week. But at which point the following merits being mentioned: the man's absence from these pages lies with the author, not the beat-maker.

New material has been released, but nothing of this sort.

For whatever it is worth, however, the track below wil shake down seawalls from Galveston to Lisbon. The music burns. As would only be appropriate, the songs start with the snare roll typical to roots reggae and the reverb quintessential to dub. Nothing more than a kick drum and an ambiguous guitar strum is heard. Midnight fog permeates the air. But the beat-maker is busy cooking with the late night oil. A snare begins to carry the eight notes as a digital cymbal/kick manage the beat. The tempo is somewhere between a quicker tarraxo and a slower kuduro. A single synth syncopates. More percussion before the technical magic as some female vocals are sampled into the loop.

But analysis is bucked ultimately bucked. Truth be told "JáNemsEI" is the sort of track that can be compared to the ocean. Each of the seven seas serves a fun and a practical prupose. Regardless of the business at hand though, its length and breadth should be respected.




- J.N.

A Noggle Brain Trust, LLP. website

Chippass (feat. E-40)- "I'm Shinin'"

Droves have descended upon the desert again.

Winter festivities have concluded and the spring solstice has arrive. Hello, Spring Training...no one's friend

Regardless, like the shouting of a distant beer vendor, optimism infiltrates the air. All player arrive in the "best shape of their lives." For a moment, the playing field is even. Every single club seems capable of winning the their league pennant.

The Atlanta Braves, however, tell a different tale. But fortunately for Braves fans, joy can be found elsewhere. Future may have worn a Rockies cap - continuing, if nothing else, the tradition of hat critique on these pages - on the Original Dirty Sprite, but Gucci Mane La Flare flexed a Braves jersey before sitting down for dessert. Still, Chipper Jones will not be offering his services for the 2015 season. Be that as it may, Joey Fatts has used the eight-time all-star's name to great effect; Chipper Jones 3 having been released last year.

And for whatever reason, the first overall selection in the 1990 Major League Baseball draft makes for serviceable fodder.  Look no further than the Chipass Jones mixtape series. The releases are a solo project from Oakland rapper Chip$; just one third of the NhT Boyz (No Home Tranin). The crew is made up of - which also includes Knowledge and NikAtine da King - is facet to Cos the Kid's collection of up-and-coming talent; including but not limited to Billy Gram and Jon Dough.

Released as a single yesterday, in conjusction with the album stream, the song below is a part of the Chipass Jones 2 mixtape. Much like "Faster," the track includes a feature; albeit a significantly higher profile appearance. The production cpomes care of The A-Team (Dave-O, Juneonnabeat, Jabari The Great). Classic hyphy bass is inescapable, wet, and thicker than a wad of chew. The talents of Bay Area Bobby Cox are explored as well as the delivery that northern California bouncing couplet. Which is not to diminish Chipass as a clever lyicist. Plenty of boasting is heard and the punchlines - such as  "I pull up in your b*tch and these wallabees blowing weed / Backwood burning like calories" -  are creative. For his part, E-40 does his best impression of Craig Kimbrel, also not a southpaw, in shutting the operation. The best is saved for last, though, when a subtle reference is made to the Strange Music affiliated Royals fan from the 2014 World Series.

Some music can be art, but such a requirement is not necessary for enjoyment. Simply a worthy effort to loosen stiff limbs.



Notable Mention: Randy Valetine [Hemp Higher] - "Wake the Town"

The connection with the second selection is minimal.

Alternatively, one may say that the link is not existent.

Either choice is accurate. London is a hop, skip, and a jump away from the United States; and much like this transition, no bridge exists to connect the two. Yet spring breathes to the snow covered masses; assisted, if nothing else, by carefully crafted Caribbean vibes

But such a proposal ha already been made. The main difference, though, is that Randy Valentine hails from the land of the Thames, not Kingston. Alas, none of this song's over all quality. Released yesterday, and titled "Wake the Town," the track below is a roots track. As such, the tempo is slow; bass traveling at the speed of a knuckle ball, and just as destructively. Like the backing vocals, tambourine is use brought in the add to the overall feel. Three choruses are sung, in contrast to two verses and an outro; but the previous is not representative in the least bit. Valentine is a formidable singer, but listeners enjoy the performer toasting his lyrics on "Wake this Town." With a quick delivery, the frontman skips over the hi-hat and picks off the stop time on the back end. Content wise, the song focuses on slice of life matter, and some politics, including the line "My life still rough like a sandpaper / So what we don't eat we'll save for later."

Not much criticism is merited. Perhaps Rodigan's scorcher this week, but either way...very good number.

- J.N.

A Noggle Brain Trust, LLP. website

Monday Morsels (23 March 2015)

Rounding up the best of the week-end in one convenient post

All bets are off.

That which is called "the jig" has recently witnessed the expiration of its capacity to be time. It is up.

For the second Sunday in as many weeks, a major album was released late into the night; the third in total in just a that same week's time. Expectations for the music are unexpectedly high. Opinions of To Pimp a Butterfly as well as Mr. Wonderful notwithstanding,lingers on the palate. A bias is incidentally created.

But I Don't Do Shit, I Don't Go Outside is different.

The music is rooted in hip-hop, albeit the appropriately cinematic soundtrack to a dystopian reality serial. Verne Troyer is always in the house as a gallon of the finest Cambodian breast milk is chugged in just one hour. Concepts of rhythm and melody are also challenged throughout. What is certain, though, is that the delivery and presentation is identifiably rap presenting both a continuation are well as an alternative

All that remains is a sudden flash of light. Earl Sweatshirt has rolled by in golden roller blades and it just so happens that the listener has been on the wrong side of a baseball bat. The content is deeply cynical, if not nihilistic. Questions are consistently brought up regarding to the value of accomplishment. Aware of a void existence is what, if anything should be engaged in?

The album is more cryptic than dense. Full discretion, the author only claim to have heard it through thrice since its release.

But of greater interest is the occasional gambling imagery the Odd Future MC employs in his verses. Sometimes the lyrics are reflexive ("I was kinda out the game, Imma put the quarter right back in the slot.") while others are projected outwardly ("Friendly with the chosen / The rest is getting the poker hand"). Still, curiosity is difficult to tame: What does Earl's March Madness bracket look like?

Probably illegible and written in blood and hash oil.

                                                                                                                                                                   

Ranting and raving now sufficed, onwards to the selections..

As soon as the song below was released, it was virtually guaranteed top-billing. On paper, the track is a  near trifecta

For the second time in three weeks, Dadifox appears as part of the "Monday Morsels." Moreover, the PDDG beatmaker maintains continues a streak of retro-chic. But rather than turn towards the 1980s Portugal, the producer's sights have wandered; and if the song's subtitle is to serve as any indication, the Dj glance has ventured well beyond the European continent into Angola and Cabo Verde.

On his newest song, titled, "Ouuu Suiiiv," Dadifox presents a face-paced funana. Yes, style is the coup de grace. Clocking in at just past four the track is surprisingly long but a far stretch from mundane. Opting for thirty-two beat bars Dadifox does not rush any of the transitions  - accompanied by a cheeky interlude - between the four verses and five choruses. Regardless, the coordination is systematic; like that of any resident of the track. The beat is led by snare/kick while a shaker provides a hitch and a chain/clap combination syncopates. Melody is driven by an electric guitar, routinely chopped up on the verse. Percussion is eliminated and a digital snare becomes much more prevalent.  At a later point, when drums are phased out, the gut-checking bass steps up. The bass is often in slightly slower than the overall tempo and, alongside the clean mastering, are the song's strongest features.

Without question, a very, very good song that is also fortunately available for download



The fix is place. A shot is about to be fired toward the front-runner. It is only a matter of time now until Johnny Clay shows up with the money.

Titled, "Matando O Labo," LyCoOx kills the beat. Appropriately enough, then, the TMP beat-maker revisits a horror theme from earlier in the year. Rather than using screaming samples, Dance Mamba opts for a high pitched synth melody. For its part, the bass rumbles like the gears on a Medieval drawbridge. The track is sold as a tarraxo. Tempo is slow - led by a hi-hat/snare/kick rhythm - and about as predictable and the LyCoOx drum-effect-cum-transition.

"Matando O Labo" is a solid, heavy song layed out like an EDM number. But as with KingFox last week, it is the intermittent trap portions that provide the most upside.




The typical slot machine brings with it s fixed connotation of jackpot.

One the other had  exists the Wurlitzer Prize.

A Roll of quarter will play you the same old song, if Waylon Jennings is to be believed. Nonetheless, silver is allowed to escape and slide into the slot; one sad tale after another.

What follows has feels but is not nearly as emotional a tale. Released yesterday, what follows is a gangsta zouk care of SenexBeatzZ. The mid-tempo song, titled "GHETTOZOUK" is presented as a brevemente: intro, two choruses, a verse, and a bridge. Three synths, and a flute are carefully layered. Percussion-wise, the song is just as rich. Djembe, shaker, and cowbell are all heard in addition to the main rhythm.

It is as if the jukebox sells itself; nothing bad about it.


Had Terry not put in the fix, he could have been a contender.

Instead the man was left to make his way in the Waterfront.

Laced up in a pair of red boxing gloves all his own is Vybz Kartel. Performed over the Speedometer Fews riddim, the beat is made up of a kick/snare and accented by a hi-hat roll. Three different synth carry the melody. Bass falls heavier on the dancefloor than a canary from the top of a building. For his part Addi Innocent gives a traditional dancehall performance. Vocals are not shouted, though a lo register is used.

Good effort, altbough maybe not quite as good as the I-octane's cut. And as always free World Boss.



The last selection is as sneaky as Pete Rose's request to have his lifetime ban from baseball lifted.

It just so happens that Charlie Hustle's autobiography - titled My Prison Without Bars - sounds vaguely like a Jamaican music lyrics.

So, in conclusion, a roots track is presented where eyboard joins the chickenscratch and rhythm. The name of the musical accompaniment is the Retro Locks Riddim; which has received noteworthy contributions from Iba Mahr and Treesha Moore. But unlike the previous two artist, the track is question has more in common with the Runkus version. Dre Island, after all, is just as much a rapper as he is a singer. His lyrics are just socially conscious as the others, mixing in elements of Rastafarianism and caution.

Just one in a series of cuts that include noteworthy contributions, but perhaps the version that rides the crest of the bass best.

- J.N.

A Noggle Brain Trust, LLP. website

Dj Edyl0x [Paname Beats] - "Um Bez Bai Gaita"

Muscles are overrated.

The author does not consider himself to be an activist. There is, however, one cause that will be endorsed by these pages.

For too long has the idea than strength derives from physical power. To be strong is is to feel strong; nothing more than a matter of perception. Another way to summarize the mantra is look good feel good. After all, strengthism is a lifestyle-philosophy, not a philosophy/lifestyle. Reality in situ is not of the utmost concern.

More than a mere Dj, Edyl0x would serve as a fine spokesperson for the movement. It seems from his profile picture that a razor has not come upon his head. The mane is marvelous; and as such thesong would have to be considered the natural theme.

Titled, "Um Bez Bai Gaita," the track sees the Paname beat-maker return to funana alongside the Kanga Boyz. As the title suggests, the song specializes is the free-reed department. Like Ferro Gaita, the Edyl0x accordion is stronger than seven locks of Samson's hair. Two different snare/kick beats are heard; vocals and a djembe provide syncopation. Likewise, three distinct accordion portions are heard. The track, however, is long, and the producer uses the elements in a plug-and-play, nearly techno approach to keep listeners engaged as the tension breaks over the bridge.

A very good track, if for no other reason than it avoids the grandiose, opting instead for the elegantly variated. Fortunately available for download.



Notable Mention: Puto Babaa [AvP] - "Lhe Dá O Toque X Tá Batiróróróró"

Puto Babaa is the second half of this Medusa equation.

Each hairstyle is unique on its own. Neither Edylox's relaxed curls nor Babaa's flat-top is superior

But the symmetry but be addressed. One producer has the right half of his head died while the other has opted for the left. Together, it must only be assumed, not even brass shackled would be able to contain their power.

Also similar to Edyl0x, the AvP beatmaker keeps the focus CaboVerde. Alas, "Lhe Dá O Toque X Tá Batiróróróró." The tempo is quick - led by a hi-hat/snare and syncopated by some additional drum work - but the technical essence is less melodic; which is only to be expected. After all the track released earlier today is a batuco. Relying heavily on vocal samples, the groove is deeply rooted in the rhythm. While synth is heard, the bass is provides the swing and the core identity for the song.

The effort is formidable, if not surprising, leaving the listener is a blow-out state of mind.


- J.N.

A Noggle Brain Trust, LLP. website

Son Palenque - "Margarita (Rocky's Lisbon bass re-work)"

Originating from modern German, the word doppelganger is so new that it is no even two-hundred years old. One source states that the first Anglicized version of the term appeared  in the year 1834; another claims 1830.

These details are largely irrelevant anyway.

Like anything German doppelganger was created in joylessly literal incubator. The definition quite exactly "double-appearance," not unlike the present case. Roc Marciano, a New York rapper, has a storied history but it is the present that matter. As a matter of fact, Marcberg is coming off the release of a track with The Purist titled "Patina." The man's European counterpart , similarly enough, has been involved with hip-hop music on his own. But the Portugal and Netherlands based Rocky Marsiano does not spit. Instead, the latter boxing homage is a DJ whose live sets are readily available on-line

It is these archives that make Marsiano fascinating. His range - virtually anything relating to the African diaspora -  is astonishing; and the song in question is no exception.

Afro-colombian sounds and traditions have been covered on these pages before. Unique circumstances, dictated by geography and otherwise, make the western part of the South America particularly interesting. The creation of an altogether novel culture helps as well. But the source material is less metropolitan. THe socio-economic realities originate in a more rural setting in Cartagena. At UNESCO recognized community called San Basilio, Bantú is spoken. The walled location was, after all, "founded by escaped slaves as a refuge in the seventeenth century". It in this area, during the 1980s, that composer-singer Justo Valdez forms the group Son Palenque.

Rather than digging through the Son Palenque back-catalog, the beat-maker finds a gem on the contemporarily recorded Kamajanes De La Música Palenquera. Titled, "Margarita," (available on Spotify) the orginal song is neither a cumbia nor a particularly deep cut. In fact, the rhythm is, in the author's estimation, either bullerengue or chalupa. As such, the song is played by two pieces of percussion, a lead singer, a chorus, and some faint bass elements from a friction drum. Vocals are soulful and spiritual. Despite clocking in at seven minutes, "Margarita," is worth the listen.

Immediately recognizable on the Marsiano re-work is the new, much faster tempo. A party vibe is generated but the intimacy of the original arrangement is retained. Claps and cowbell are added in addition to the occasional fill or hitch. Bass is equal parts percussive and groovy. Halfway through the producer abandons the idea of playing the original track through. Appetites have been whetted and the beat-maker intends to move on. Vocals are sampled and a synth is added as "Margarita" adds to her personality.

Similar, though not quite identical, another passable doppelganger is found; and is fortunately available for download.

Notable Mention: Chris  Brown & Tyga - Ayo (PowerMusik Beatz Remix)

The backstory is much less complicated.

Alas, questions remain.

On the Nic produced "Ayo," Chris Brown begins by dumping a tractor full of cash into a swimming pool. The reasoning is simple. A selfie must be snapped - and sent -  to Tyga (who recently got a shoutout from Breezy on the Lil Durk and French Montana track "Get that Money." But the main question still remains: mainly, why is Daft Punk washing Tyga's car?

At any rate, the Quinta do Mocho based PowerMusik Beatz has given the above single the kizomba treatment. By and large, original chord changes remains. The melody, however, has been usurped by a xylophone. For its part, the synth undergoes a slight pitch change and is then relegated to the harmony. Tempo is maintained by the snare/kick rhythm as a shaker plays alongside.

Enjoyable, albeit short of creating an identity of its own, the song is sure is pleasure is sure to stem from any partiality to the original track. Available for download at any rate.

- J.N.

A Noggle Brain Trust, LLP. website

PT Music (a.k.a. Puto Tito) [SBM Recordz] - "O Puro Styl"

Never forget the 1990s.

Forget about the decade deemed to be as, "The End of History."

It was during this decade that MTV came of age; in the process becoming a cultural force. The post-Reagan saw the first presidential rise of a first Bush patriarch. But, best of all, during this period of time eating potato chips could never be "just eating potato chips.

For their part, childrens cartoon were memorable all their own period. The proof is online. Internet culture is especially guilty wallowing in the technicolor nostalgia. Of course millennials will associate "Tito" with a Polynesian surfer past his prime more so than a middleweight boxer of the same era.

The beat-maker, while none of the above, has been trying to make a name for himself. Be that as it may,  . Based in Costa da Caprica - some ten miles south-west of Lisbon, south of the river Tejo - Puto Tito has changed his moniker since last featured on these pages. Now affiliated with SBM, the Dj has been busy at work as well.

If nothing else, the beat-maker has a enviable naivete. Where a run of the mill producer learns the rules of a scene, TIto appears delightfully curious. In the past week alone, two songs of note have been released under his name. First is the appropriate titled "Doçuras;" a slow tarraxo that could just as easily pass as a kizomba. With a kick/hi-hat/snare rhythm and djembe hitch, the percussion is busy but not cluttered; likewise, it is not enough to distract from the guitar melody and vibraphone/synth melody. A mid-tempo afro-house titled "O Puro Styl," the second track is more direct, but subtly creative nonetheless. In the first transition, for instance, four crash beats are heard, syncopation is two fold, and the synth refuses to remain static.

Released earlier today, "Panco da noite" is also a kizomba/tarraxo track; although, granted, the term demo would be a much more accurate label. Conciseness of segments continues to be the area in most need of improvement for PT Music. Three bars of sixteen beats layer the introduction into two parts. After the vibraphone and piano, bass is promptly brought into the fold. But even this minor oversight is not cause to discard the track. Percussion is tight, the bass grooves, and more than novelty of instrumentation, the harmony and melody is exceptional as Tito even ventures to change the vibraphone near the end.

The producer in question continues to be a talent to keep an eye on. More importantly, though, the pictured sweatshirt has a snazzy design that the author would no be opposed to including in his repertoire.



Notable Mention: Dj Cachorro

The escapades of Dj Cachorro and his trusty self-phone have already been touched upon.

Today, the saga continues

What follows is a quick Angolan afro-house song. Melody is carried by an electric guitar as kick/claps/snare carry the melody. Bass is sparse but effectively marks his accents. Longer vocal samples than is typically expected syncopate with another unidentifiable piece of percussion. The track is hard and swings harder than a Punch Out boss, but the real story is the techno-like use of actual phones sounds from the messaging apps Viber and WhatsApp.

Strong track that is also available for download.

Three sounds from Firma do Txiga

The landscape is changing

A Pacific island land has even built a wall in order to hold back the changing ocean tides

With regard to music, the outlook is not quick a dim. A ruling was reached against Robin Thicke and Pharrell Williams, but appeals are sure to follows. The immediate evolution is much more palpable. Tuesday has been the industry standard for new releases; record store day and special events being an exception. But, perhaps, Friday will become the new norm. "Pay as you go," platforms and torrent distribution has been tried as well, but the current talking point concerns surprise releases. A-listers the likes of Beyonce, Drake, and Kendrick Lamar have all partaken while equally as buzzworthy artists, Earl Sweatshirt and Future, to note, have announced surprise dates of their own.

From the incarcerated Guwop to the reclusive Richard D. James, unannounced file dumps are becoming the status quo.

As previously mentioned on these pages, Firma do Txiga has enjoyed a fruitful year to date. The group has certainly done its part in the trend of clustered releases. During the month of February especially, Txiga Pro was the subject of a weekly archive clearing. Best of all the results were delightful and diverse. Tracks are still obstinately percussive. But as "Projeto 183 Vibes (Remix do Txiga)," or "Novus Plugins" from the formidable Dj NinoO shows that the group continues is still improving its mastering abilities. Meanwhile, exploration into harmony and melody continue with new elements. A selection like "Sumbula no Tarraxo" might be slow while "Codigo Morse" is fast but the same idea of seeking a deep grooves is heard in both. 

And after a brief respite, the group has begun a second round. What started as a loose K-30 track titled, "Tudo Junto" expanded into three new tracks today; although one, an uncredited group tarraxo, but replete with enough effects to arouse Puto Anderson suspicions, has since been removed.

As such, the second selection has a slightly quicker pace. Titled "Gritos da Firma (Remix)," the track that follows is a mid-tempo batuco. Since no single artist, or collaboration thereof, is credited an assumption must be made that the song is born out of a group effort. The structure, however, gives rise to the idea that the beat is nothing more than a demo. Made of four sections, including the introduction, the song head is never revisited; ending instead with a rough end to the loop. Regardless, the track is busy and worthy of attention. The afro-house bass hits like the Storm of the Century. While a tambourine carries the rhythm, a shaker and miscellaneous drum syncopate alongside a male vocal sample on odd notes.

But the most amount of credit goes to the djembe. More than mere, the rolling eight beat rhythm is altered and expanded to 16 beats; during which the percussion fascinatingly slows down for the final eight beats

The third selection is a slow tarraxo care of Puto Nuno and Dj Wayne. Titled "Das Novinhas," the beat could pass off as a kizomba number. Structured Introduction-Chorus-interlude-Verse-Verse-Chorus-bridge-Chorus it does not require much strain to imagine vocal accompaniment. In the meantime, though, the song remains an instrumental. Driven by a four-beat synth melody, the beat is much less pronounced than on "Gritos da Firma (Remix)." Far from boring, however, the synth and bass change the directions of their winds on the first verse while the syncopated djembe does so on the second verse.

Good effort that is available for download; and with any hope, only the eye of the storm has been reached.

Notable Mention: Yudi Fox (Fox Beats) - "Tarrraxinha 2015 demo"

Strangely, the second feature is arguably better than the second of the main features today.

While "Das Novinhas," feels tame, Yudi Fox embraces the enormity of the forces before him and runs for high ground. The tempo is predictably slow on "Tarraxina," and the structure is familiar: introduction-Chorus-Verse-Verse-Chorus-Chorus. Perhaps the storm chasing machine needs some fine tuning before it is ready for a field test, but preliminary results are promising.

The track slaps.

No protective measures are overlooked. When strings aren't part of the harmony, a choir is heard. Horns appear on both the harmonic and melodic front. The main beat come from the kick/snare but syncopation is provided, oddly by a cuica as djembe plays a hitch. But the most telling sign that Yudi Fox is not afraid of Trap/Grime aesthetics is the producer's willingness to opt for digital snare rolls for transitions.

See above: the track slaps.. because it is a very good effort

DJ PutOo Helder [BnPB] - "É Pá Somos Todos Malucos"

No object can be in two places at any one given time.

The jury rests on the ruling in favor of the Laws of Physics.

Regardless, it seems that one entity is omnipresent. Dj EDÝ, KingFox, , and PutOo Helder seem to be everywhere. Seldom are the days when a track loosely affiliated with Black 'n' Power Beats is not released. An association of breadwinners all their own, the impression is left that the crew simply does not get tired.

And unlike Newton's life work, the concept touted by the song below is bound to find detractors.

Dr. Thomas Szasz - anti-psychiatry intellectual and demon of the spellchecker - was of the belief that their was no such concept as mental illness. While not an academic, PutOo Helder opposes the very notion; and as such, his opinions deserve consideration. On a fast batuco, the BnPB beat-maker claims "É Pá Somos Todos Malucos." The feel is old-school, but short of meriting a lobotomy. Vocal samples are used ad-nauseum - so many in fact a side effect of the song is the false belief of being a prophet. Meanwhile, the frontal lobe is accosted with a tight hi-hat beat and heavy bass drum. Digital drums provide any syncopation not coming from the vocals. Transitions are mainly created by ride cymbal and snare rolls on either either on the end.

Accessible so long as it is remembered: the lunatic is just in our head



Notable Mention: BlvckSkull - "The Dark Temple EP (Preview)"

While the previous track merely conjures vague notions of techno, the second selection in this post confirms the sensation of electronica past.

Coming off the heels of last week's "Praga Stress," Caveira Negra has translated the moniker given it the Tumblr treatments. The stylizations has not slowed the beat-maker down. A energetic return is made with no visible signs of fatigue. Made of of six sounds from a forthcoming EP "The Dark Temple," the sampler begins with breakneck breakbeat. Astonishingly the tempo is maintained. The first cut is dystopian jungle with snare and some sort of compressed cymbal. The sounds evolve through various states of repressed aggression. Only two synths are heard, and the change to a hollow snares and machine gun bass drum triggers recall Death Grips circa N*ggas on the Moon. Even a Dragon Ball Z sample - noticeable, this portion of the Saiyan saga - is used.

No release date was included, but still enough to make anyone fear whatever goes bump in the night.



- J.N.

A Noggle Brain Trust, LLP. website

Nunex & Famifox [A.N Produções] - "Intro Ludhiana"

Turn the pied piper way as soon as he arrive. The man's efforts is efforts will not be needed here.

And for the sake of convenience, the pair has brought their own flute.

It seems the pair is here to stay. For this first time since January Alto Nivel Produções has released a new song, titled "Intro Ludhiana,"  Nunex and Famifox; a quick, album-length afro-beat song. Familiar sounds - such as the aforementioned 21.5 ounces of density - are heard. But a mere invocation of genre and instruments does the track no justice.

A quick internet search puts Ludhiana on the Indian sub-continent. Eastern excursions are suspiciously common on these page, but the author's interest does not rest in Asia. Instead, reader are asked to turn towards the previous week. Specifically, song titled "Um Ano." A moving composition all its own, the big accomplishment on the part of N*gga fox is not arrangement or style. Organization was key. Barely eclipsing the quarter mark, the track changes identities.

Results were successful.

Now the blueprint is public. Alto Nivel merely had the foresight to run with it. The introduction is made up of three layers: beginning with a static, single note seemingly synth. Traditional drums accompany the soft flute, but the feeling is still unnatural. Drowned out by the synth is a bird song that would otherwise fit in well. But everything ultimately culminates. The snare/kick starts the festivities. All the usual suspects and a scraper carries the groove. One by one elements solo before a loop plays through the two mains sections subtly changed.

Musique concretely underappreciated.


Notable Mention: Dj Firmeza [PDDG] - "Animação Olha o Boda"

Not typically a second feature participant, for today at least Firmeza is second on the billing

The reason is two-fold.

After all, it is the older of the two songs. Released over the weekend, the title of the track is "Animação Olha o Boda." The accompanying tag reads "new.' But herein lies the second reason: the song is no more than a remix. The beat is an instrumental track titled, "Príncipe" released earlier in the year care of CDM's LiloCox. But in contrast to the original, a kuduro vocal duet is performed. The delivery rests somewhere between spoken word and listless singing.

With any luck a new swell is on the verge of forming and the wave crashes while leaving a new level to the music.


- J.N.

A Noggle Brain Trust, LLP. website

Izzby Diamon - "Top Haut"

The streets are no longer safe. Onions are raining down upon people across the country. Daggers are being driven directly into the country's heart

Needless to say, the madness of March has arrived.

Resting directly in the crosshairs of a three-point ringer is the Naismith nightmare. Against all odds a swish is to follow; just not of the thirty million followers variety. It is, perhaps, a stretch, but it just so happens that a member of the squad for which the author is rooting engages in a similar hand gesture as the featured artist.

The song at hand, titled "Top Haut" is a zouk with gusto. Hailing from France, the performer at hand is named Izzby Diamon. The lyrics, sung in a pop, and later dancehall, style are predictably performed in French but the beat transcends language. The run is sweeter that the shooting motion of an old Indiana State forward. An electric guitar holds down the melody while a synth carries the harmony. An acoustic guitar and a second synth act like this year Kentucky second team and keeps the lead. The beat is built around a kick/snare with woodblock, tambourine, and a metal drum in the front court. Much slower - although deliberate - is the round mound of bass; heavy and worthy of attention.

In the interest of variety and intrigue,  if nothing else.

(h/t African Groove)

Notable Mention:  Djeff Afrozila (feat. Missun) - "Obsession (Djeff Afrozila Kazukuta Remix)"

The second selection looks West..

..below is a selection more of a Bill Walton to the established stars...

..but not only because Djeff Afrozilla is in the midst of Picasso and Dali. Titled "Arumba," the song that follows is a deep afrohouse song. Granted, calling the music a proper song might be overstating it - the track is nothing more than a minute long snippet from a forthcoming FompUK release - but  it is an enjoyable listen regardless. A snare carries the beat and a woodblock syncopates and the track is driven by a synth but none of it matters in the least. The slew of voices numerous enough to start a casual pick-up game. It is the manner in which the producer arranges the voices, though, that is of most intrigue...baby.



- J.N.

A Noggle Brain Trust, LLP. website

Monday Morsels

Rounding up the best of the week-end in one convenient post

The road flares at the side of the information superhighway are lit.

It was here, late on a certain Sunday evening, where fond climates and sweet singers suddenly appeared.

Much to the herd's surprise, a second major album was released within the first quarter 2015. All praises to the cyber gods: creators of classics and trash

If you are reading this, it is not too late. The sound is surprising but not altogether dissimilar. Traditional herons dive at the crossing of a historical bridge. Some two years removed from Adrian Younge and Ghostface's Twelve Reasons to Die, Kendrick Lamar has released To Pimp a Butterfly. The results - and confirmation bias notwithstanding - are much to the author's acclaim. Records past and present can be cited at length. Comparisons, grandiose or otherwise, beg to be made. The author, however, feels the time is opportune for a shameful admission. An expertise in the field cannot be feigned. Among those records the author has listened to during the the previous two years, good kid m.A.A.d. city among them.

It merits being said, however, that Kendrick's writing on To Pimp a Butterfly is spectacular. Lamar raps, "the truth of his joy /  To the trees and the stones and the fish in the tide." The impression left on this neophyte is that of a polished scribe of verse. By sheer coincidence and circumstance, the poet in question is involved in a performance art as well; "and the mystery Sang alive."

After all, it was that poet Thomas who wrote, and performed, "O may my heart's truth / Still be sung / On this high hill in a year's turning."

                                                                                                                                                                   

Ranting and raving now sufficed, onwards to the selections..

Dylan Thomas tells of one gloomy October, OG Amber London, on the other hand waits until, "October, I came to bring the pain." While not nearly on par with the new Kendrick Lamar album, Amber London proves herself a rap beast all her own; running straight through the chorus. The self-proclaimed Queen of the Underworld delivers a brick of bars as evidence that she never forgot the Texas phonk. No hook heard until the end. A single high pitched voice provides the harmony, although horns and toy piano cut in and out. But as a whole, the song produced by Dj Lucas is dripping with bass.

As such, a SlowednChopped version has already appeared.

The following transition is equally as painful, yet it bears mentioning. After all, bassist, and Brainfeeder affiliate, Thundercat plays a memorable role on To Pimp a Butterfly.

Unfortunately, the second degree does not involve any P-Funk. George Clinton is nowhere to be found. In a silent way, though, Flying Lotus saves the day. The majority of the Brainfeeder's discography has been released under the Warp label, after all.

 The track below is no different.

Released Friday, the title of the song below is "Lumi." A product of Dj N*gga fox, the song begins after an introduction and a brief interlude. Suddenly, the beat changes. All memories of the orginal hi-hat/kick rhythm with two additional pieces of percussion are washed away. While the percussive assistance remains, the pattern has changed. The hi-hat keeps a kuduro beat. But now in the lead is a rowdy digital snare reminiscent of kwaito and bacardi house. Appropriately the song is synth heavy; shapeshifting like one of the War God's commander's.

The groove is found in the shaker. Adaptability is key, however, as N*gga fox switches into an afro-house beat before returning returning to the beginning of the loop


Also released on Friday was a song titled "PArabens PaRa Min."

With a relatively simple arrangement, KingFox makes a nice kizomba beat. Two synths - one for harmony and one for melody - carry the run and neither remains static. A third, very emotive synth is also heard, but not for an extended period of time; much like the distant thumb piano. The slow hi-hat/snare beat is heavily influenced by tarraxo. For its part, the bass/kick accents the track where needed. Of much greater relevance, however, is the conga drum that serves as the source of the groove.

All in all, a very clean effort, available for download, from the ever surprising Black 'n'  Power Beats. It is the hip-hop interludes, if nothing else, that cause the author to err on the side of a high ceilings.

For the sake of contrast, the selection that follows is a quick afro-house. Titled, "Voteeeeee," the track is a joint effort from WilliCox and Puto Baba. The rhythm is a familiar kuduro beat with a typical source of melody: accordion. Two sections that vary in syncopation loop; the first a four to the floor male vocal sample while the other a drum on the eighth notes. As might be expected, djembe is also heard.

Largely inoffensive, "Voteeeeee," which is available for download, does not break any new ground but accomplishes its goals in style.



Through no fault of their own, Firma do Txiga has not been featured on these pages as of late.

The source leans more toward the author's non-commitance more so than on the crew's output.

Nonetheless, Txiga makes a triumphant return. Led by DJ k-30, the track below is a highly percussive tarraxo. Which is not to say anything about "Tudo Junto" is ordinary. As the title suggests, though, the trout mask ecstasy is found in the conglomeration of sound A synth effect syncopates, the shaker grooves, and the kick drums pounds out the four to the floor. Two unidentifiable drums provide the melody. Of a traditional drum kit, only high-hat and kick are heard; prominently featured in the second section.

The highly imaginative song shakes the ground enough that asking Tupac if he consented to the interview at the end of To Pimp a Butterfly might suddenly become possible. Until then, "Tudo Junto," is available to download.


- J.N.

A Noggle Brain Trust, LLP. website