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