Writing is easy.
Sitting down and complete such a task is much more difficult.
Worst of all, no instant solutions exists; not even to the privileged realm of
firmly believing elites. Call off the front line of defense! Have each and trumpet player retreat. All of the world's horn could belligerently blow but not a single wall will crumble. Hallelujah.
A competent plan, though, can still be of tremendous use.
After all, facility can be gained most simply. Natural abilities, talents, and the concept of "effortlessness" are all legends: Do not believe in a single one. Focus is a much more salient trait, and conveniently preloaded into the hardware of all bipedal mammals. The only necessary investment is time. With the a steady reserve of seconds, minutes, and hours the desired output is sure to resemble intention. Precision is useful as well. It is patience, however, that proves to be the ever volatile variable. Results are not guaranteed to be immediate. Dues must diligently be paid, whether in part or in full.
Yet slowly and steadily progress is made.
Such is the byproduct of exercise: muscle growth. Whether physical or mental, biological gifts become stronger. An increased level of confidence tramples past and present trepidation. Soon the wall will meet a formidable foe; for as the old bodybuilding sage Gotama said, "The man of little learning grows old like a bull. He grows only in bulk, but his wisdom does not grow old." But what neither weightlifters nor mendicants will openly share is the process; the trials and tribulations overcome to possess knowledge and size. Surely the peace was not present in the midst of their struggle.
Still, the author refuses to engage in such myth making; details, however, are to be spared.
Long or short, extensive or brief, the posts that appear on these pages consistently put up a challenge. Some days provide a more concise set of material to cover than others. As such, inquietude varies. More so than the external pressures of generating interesting or maintaining attention, the problem becomes internal. Finished pieces should, typically, be an improvement over the prior day's project. But whether or not such a level is met is not for the author to decide. Writing is easy. Recalling that not enough time has yet been invested to truly be "good" is much more difficult.
As such, the same ballet takes places every Monday. Hours are spent wandering. The words of the screen do not appear fast enough. Inevitably, a winner must be declared. Today, fortunately enough, it seems, the victor is positive as the author considers it a relative success.
Excessive ranting and raving now sufficed, onwards to this week's selections..
Of all its positive attributes, perhaps the most compelling line
"Puxa Puxa Larama" is when Limas do swagg sings "Quando na policia va chegar / nInguem vai se a meter;" a track that the song that follows has nothing in common musically. For all the kuduro energy brough my the former, the latter is a straight, mid-tempo hip-hop track.
Puto Tito has gone relatively minimal with only eight elements being hear. A variant to to a boom-bap beat, percussion is abundant. The main rhythm is provided by a kick/snap/clap as a rattle syncopates. and tambourine - a knight rider hidden in plain sight - carries the groove. Only a chorus and verse are presented; each differentiated by a vocal sample. Police sirens and a single synth provide the run.
As far as salient references go, the second song serves as a much for suitable subject. The subject has even been covered once before; on a
Willicox song. Accompanying the track was a still from an animation created by Ivandro Borges. What began as
a viral YouTube video provided potential as a comedic take on hip-hop and graffiti. Although, it should be noted, the author possesses no close knowledge on the matter.
At the rate, the song below makes reference to
the namesake show. A kick/snare rhythm creates the foundation on Puto Babaa's midtempo afro house song on his first appearance on these pages since his
"African Scream" remix. The djembe syncopates but the true batimento comes from a second piece of percussion. Wilting bass grooves throughout. A flute carries the run, MIDI trumpets harmony, although vocals ultimately are brought in to provide an additional layer to both rhythm and melody
The element of song slapping is overrated. A convenience for radio jocks and party directors alike, the banger just provides a hack into the audience's attention. Both energy and focus are repurposed towards a unifying, familiar song. No song better emulated this nation than Karlitera and "Botão."
Which aside from
the author's vested interest, is a a relatively objective statement. Not unlike the aforementioned
"African Scream," Cachorro beat is imposing; an element not lost on the pairs latest joint. Titled, "Mostra Aonde Xta Tue Mae," a similar kick/tom propels the song with a hi-hat thrown in for measure. Shaker and claveles syncopate all the while. Bass is nearly modal as another droney synth infaltes the harmony. Otherwise, the run is maintained by a frontline/backline of trumpets. Vocals are heavily indebted to kuduro and adlibs are strong.
A running joke on this site concerns the style of music called
funana. For whatever reason, the author is enamored by the tantric accordion and chemistry between guitars. The sentiments or hopefully shared by readers. What may serve as an equally formidable storyline, though, would be that of throwback selections on Monday Morsels.
Obscure references have a tendency to find a comfortable spot on the site. Both
Peru and
Colombia have been visited, for instance, by way of Lisbon. Similarly, the track below stays in the Western hemisphere. And while
Dadifox is typically the initiator such is not presently the case. The honor is bestowed on Tia Maria's Puto Marcio instead. Rather than draw from the
funk side of Brazil, the beat-maker opts to go acoustic. An early 90s samba/coco track is selected as the source material. Credited to Bezerra da Silva,
Voz do Morro, "Overdose da Coca" is the title track from the
Cocada Boa album - translating to good "cocaine overdose" and "good coconut candy/cocaine" respectively.
If nothing else, the remix is much more representative of the title. Only a brief portion of the original vocals is retained and used tooled into an arpeggio. The tempo is fast and bass is heavy, reminiscent of kuduro. Rhythm-wise, though, "Coca da Boa Guetto" resembles a fast batuco. Kick/hi-hat are the jumping off point for a djembe and effect to syncopate. Two other vocals contribute to the rhythm as well. Two different synth chirps are juggled into the melody as well.
A very strong effort from an underutilized style.
From footwork sounding to the genuine product, the final selection points toward the a different tye of ghetto house entirely.
Titled, "Wave n Static," the song below could be considered a telegraph to Dusselfdorf. The steady hiss of a synth acts as white noise while preparing the harmony. An organ provides the melody. Kick/snare/clap essentially provide the rhythm Hi-hat triplet are eventually brought in as well as a different ride. For stretches of the song, though, the compressed will pound steady 1/8 notes while the Morse code is explored. Trembling bass and slaps come into to break the pattern.
A terribly literal song where title is concerned as
Acey acts as the juke Hubble, exploring kosmische limits of the footwork galaxy.
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J.N.
A Noggle Brain Trust, LLP. website
