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..
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.
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
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