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
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