Rounding up the best of the week-end in one convenient post
No action is inevitable.
Life only appears to be random.
And a like the tip of a massive, mechanical tattoo gun, some clock arms inscribe the crime of living into humanity's back as a whole. The watchmaker cannot be outwitted. Carefully crafted machinery cannot be chaotically torn apart. Escape, it seems, is impossible.
Inevitably we, though, return to the start.
Homer will forever forget that April 15th is tax day come death or come reruns. Current events are presented on a news cycle with reason: Ready or not, here comes Hillary! Faces may change. The venue could appear to be different. But in the presence of youth and camera's - given the perfect storm of live performance and publicity - Madonna will always intend to impress; her non-copyright infringing imitation of Nosferatu now well known. Some trends, of course, are not as well rooted. Far from relevant in the 1990's, Tyler, the Creator deserves a mention nonetheless. Following the surprise roll-outs of To Pimp a Butterfly as well as I Don't Like Shit, I Don't Go Outside on Sunday nights in March, the Odd Future stalwart followed suit.
Any attempt to foreshadow need only to look in the past. Squinting to see further ahead is not necessarily advisable, although certainly a viable possibility. It is the present can, however, that can be immediately affect the individual as well as be affected by the individual.
But predictable as the world might be, which pre-fabricated existence is developed is still a matter of choice
Excessive ranting and raving now sufficed, onwards to this week's selections..
Technically, "Akounamatata," did not have a weekend premier. Then again, the song - inspired by the Edyl0x song featured on these pages last week - does not quite fall under the 'typical' umbrella.
Disney fans should note, though, that the Simba references are limited to the title. Such is the circle of life. But hopefully no potential listeners are dissuaded. What follows is a treat. The snare beat is reminiscent of zouk but much quicker. Meanwhile, hi-hat carries a heavy, reggae groove. Bass is thicker than the crowd descending upon Indio Valley three days at a time year,. Vocals are English language and combine the the dancehall delivery with soca singing. Sted Killa - representing Guadeloupe's Yellow Gaza Production - keeps the energy high, in part due to the variety of ad-libs from horse sounds to yelping.
Enjoyable for the entire four minute duration.
Coincidentally, the reference embedded in the title has a decidedly limited relevance to the second number as well.
Which is not the say that Elvis Crespo is entirely absent. The late 90s salsa hook is very clearly sampled during the first part of the two-tiered introduction; after which, LyCoOx breaks out the synth collecton. Similar to past tracks, Dance Mamba uses an afro-house, snare rhythm as springboard. The tempo is mid-tempo to quick as hi-hat and djembe swing. LyCoOx staples such as the descending bass and drum effect can be heard; although it is the latter that is both the song's saving grace and defect. Decidedly heavy, the bass is given, perhaps, too much of a share. As a result both the drums and the vocals sound as if to be drowned out or competing for space.
Hillary Clinton's presidential announcement was far from surprising.
Not even the evening news feigned the the least bit of jubilation
An warm of continuity was provided but he comfort blanket of a familiar face in a turbulent political climate. Comfort is of the essence In much the same spirit, the author turns to a time-honored tradition on these pages of revisiting remixes; at times to an unhealthy degree. But the track below falls short of the all-time record. With his contribution, Dj BeBeDeRa marks only the fourth total mention of Maruo Pastrana's "Má Vida." Similar to Dj News, the version below merely includes the vocal hooks as a musical element to an otherwise established beat resulting in a percussive recreation. The mid-tempo kick/hi-hat afro-house beat is accompanied by a descending bass with additional percussion syncopating. Xylophone assist to the latter goal as well. Melody is carried by a four-beat beat flute. But it is the listless plucking of an acoustic guitar that headlines the two-minute hippie jam-fest; the strumming of two-chords passing off as the instrumental portion on the second verse.
Strong effort overall and worth the download.
And now for something completely different...
...a man with an internet connection, up his nose.
More of figurative image than a literal one, the final selection is, nonetheless, a throwback to the heyday of cloud rap. The featured artist is Akumasanti who, despite having a structured and delineated beat delineated blows through the both choruses. A reprise is only afforded at the end. Still king of the people, Kuma walks the audience through a day in the life of a space hustler. In the aesthetic of an chan board, references are seamlessly made to cleaning bodily fluids as well as katanas and Zelda. The flow is reminiscent of old Houston rappers and enunciation is clear as the distorted vocals is the force active listening. But, perhaps underappreciated, is Akumasanti's ability to transition from shorter to longer prosody with ease. slice of life track.
The beat is a collaborative effort between two more cyber natives, Roc12 and Snugsworth. With two synths the run is established. Windchimes provide support and a stringed Asian instrument in appear the second Sax provides support in the chorus. A third synth is heard in the chorus as well. Anime sample are, of course, as the kick/clap - snare used only at the end - make up the beat. The carefully crafted fluttering of the hi-hat triplets, however, might be the most intriguing element.
Not seeking to convert any of the uninitiated, the song should nonetheless cater to already established fans of the sound.
- J.N.
A Noggle Brain Trust, LLP. website
Life only appears to be random.
And a like the tip of a massive, mechanical tattoo gun, some clock arms inscribe the crime of living into humanity's back as a whole. The watchmaker cannot be outwitted. Carefully crafted machinery cannot be chaotically torn apart. Escape, it seems, is impossible.
Inevitably we, though, return to the start.
Homer will forever forget that April 15th is tax day come death or come reruns. Current events are presented on a news cycle with reason: Ready or not, here comes Hillary! Faces may change. The venue could appear to be different. But in the presence of youth and camera's - given the perfect storm of live performance and publicity - Madonna will always intend to impress; her non-copyright infringing imitation of Nosferatu now well known. Some trends, of course, are not as well rooted. Far from relevant in the 1990's, Tyler, the Creator deserves a mention nonetheless. Following the surprise roll-outs of To Pimp a Butterfly as well as I Don't Like Shit, I Don't Go Outside on Sunday nights in March, the Odd Future stalwart followed suit.
Any attempt to foreshadow need only to look in the past. Squinting to see further ahead is not necessarily advisable, although certainly a viable possibility. It is the present can, however, that can be immediately affect the individual as well as be affected by the individual.
But predictable as the world might be, which pre-fabricated existence is developed is still a matter of choice
Excessive ranting and raving now sufficed, onwards to this week's selections..
Technically, "Akounamatata," did not have a weekend premier. Then again, the song - inspired by the Edyl0x song featured on these pages last week - does not quite fall under the 'typical' umbrella.
Disney fans should note, though, that the Simba references are limited to the title. Such is the circle of life. But hopefully no potential listeners are dissuaded. What follows is a treat. The snare beat is reminiscent of zouk but much quicker. Meanwhile, hi-hat carries a heavy, reggae groove. Bass is thicker than the crowd descending upon Indio Valley three days at a time year,. Vocals are English language and combine the the dancehall delivery with soca singing. Sted Killa - representing Guadeloupe's Yellow Gaza Production - keeps the energy high, in part due to the variety of ad-libs from horse sounds to yelping.
Enjoyable for the entire four minute duration.
Coincidentally, the reference embedded in the title has a decidedly limited relevance to the second number as well.
Which is not the say that Elvis Crespo is entirely absent. The late 90s salsa hook is very clearly sampled during the first part of the two-tiered introduction; after which, LyCoOx breaks out the synth collecton. Similar to past tracks, Dance Mamba uses an afro-house, snare rhythm as springboard. The tempo is mid-tempo to quick as hi-hat and djembe swing. LyCoOx staples such as the descending bass and drum effect can be heard; although it is the latter that is both the song's saving grace and defect. Decidedly heavy, the bass is given, perhaps, too much of a share. As a result both the drums and the vocals sound as if to be drowned out or competing for space.
Hillary Clinton's presidential announcement was far from surprising.
Not even the evening news feigned the the least bit of jubilation
An warm of continuity was provided but he comfort blanket of a familiar face in a turbulent political climate. Comfort is of the essence In much the same spirit, the author turns to a time-honored tradition on these pages of revisiting remixes; at times to an unhealthy degree. But the track below falls short of the all-time record. With his contribution, Dj BeBeDeRa marks only the fourth total mention of Maruo Pastrana's "Má Vida." Similar to Dj News, the version below merely includes the vocal hooks as a musical element to an otherwise established beat resulting in a percussive recreation. The mid-tempo kick/hi-hat afro-house beat is accompanied by a descending bass with additional percussion syncopating. Xylophone assist to the latter goal as well. Melody is carried by a four-beat beat flute. But it is the listless plucking of an acoustic guitar that headlines the two-minute hippie jam-fest; the strumming of two-chords passing off as the instrumental portion on the second verse.
Strong effort overall and worth the download.
And now for something completely different...
...a man with an internet connection, up his nose.
More of figurative image than a literal one, the final selection is, nonetheless, a throwback to the heyday of cloud rap. The featured artist is Akumasanti who, despite having a structured and delineated beat delineated blows through the both choruses. A reprise is only afforded at the end. Still king of the people, Kuma walks the audience through a day in the life of a space hustler. In the aesthetic of an chan board, references are seamlessly made to cleaning bodily fluids as well as katanas and Zelda. The flow is reminiscent of old Houston rappers and enunciation is clear as the distorted vocals is the force active listening. But, perhaps underappreciated, is Akumasanti's ability to transition from shorter to longer prosody with ease. slice of life track.
The beat is a collaborative effort between two more cyber natives, Roc12 and Snugsworth. With two synths the run is established. Windchimes provide support and a stringed Asian instrument in appear the second Sax provides support in the chorus. A third synth is heard in the chorus as well. Anime sample are, of course, as the kick/clap - snare used only at the end - make up the beat. The carefully crafted fluttering of the hi-hat triplets, however, might be the most intriguing element.
Not seeking to convert any of the uninitiated, the song should nonetheless cater to already established fans of the sound.
- J.N.
A Noggle Brain Trust, LLP. website
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