Dj K30 [Firma do Txiga] - "Tarraxo da Preta Sexy"

Eyes' beauty pales in comparison to the sights which they choose to behold.

Alas, no man with a camera should be trusted.

Regard anyone who claims to be an amator  with a deep sense of suspicion. Optical organs should be especially wary filmmakers from Spain. But retina shaves aside, these spheres - unenviably tasked with providing sight - are not altogether different from the humans that they serve. Shape, for example, is hardly uniform. Due to astigmatism, soulful portholes differentiate in both shape and size. Colors are prone to vary as well. Models are available in blue, green, brown, or black; occasionally even two at a time.

Similarly, humans are innately ingrained with an apt aesthetic appearance.

It should be noted though, that no single form is more appealing than another. Despite media portrayals, fair skin does not equate to glamor example. The cults of Beyonce, Rihanna, and Serena Williams are strong. Neither Miley Cyrus nor lightening cream is all necessary. It was the Based God himself, Lil B that sang, "No black person is ugly;"

And just such a sentiment is echoed by Dj K30. A effectively bare song, "Tarraxo da Preta" is built around a slow zouk beat. Drums and cymbals are not overly relied upon, though. Instead, the Txiga beatmaker makes no secret of his experimental tendencies. Rhythmic roles are regularly reversed; evident from the brief, introduction onwards. Once the bass knocks four beats, the song is coaxed. The interlude that follows only adds to the suspense. A shaker carries the main rhythm, djembe syncopate. Hi-hat/snare are used only as a hitch on third beats. Transitions are equally as bold with either percussive fills or frantic guitar strumming indicating a transition in a song that rapidly develops as Introduction-A-B-C-D-A-D-Outro. The melody is carried by one of three tone-generating synth loops, fitting well among the laborious track. Likewise, bass alters between two patterns: one skipping, and one straighter four to the floor.

Mastering is not perfect, but the melody is surprisingly nice. A download is certainly recommended.




Notable Mention: StressMusik - "Black Power"

The second selection is no less shy.

An artery of emotion deliberately punctured as the audience is left the sound of it bleeding out.

Although the title may suggest a militant theme, "Black Power" is nothing of the sort. Musical Midas has returned and the results, once again the results are resplendent and ravishing. The song that follows is a ghetto zouk constructure around a kick/snare beat. Although a scraper is heard only on the introduction claps are used to syncopate throughout. Likewise, a ride cymbal is used for transitions while a splash marks the end of each sixteen-beat bar. Bass is middling, but heavy as the feelings that loom over the last dance of a happy couple. But as well organized as the rhythm may be, the main attraction to any StressMusik song is the melody; and "Black Power" is no exception. Structured Introduction-A-B-interlude-C-interlude-D-Outro, the first half of the song is noticeably different from the conclusion. In addition to an ambient, harmonic synth, a second the glitches from the introduction carry over to the first two verses. After the first interlude, however, the key changes as the synth resting on cloud nine becomes actively engaged. Guitar is no longer plucking out notes but instead. eschewing a prideful collection of notes. A third, final high-pitch funk synth plays as well, completing the transition from melancholy to success; if one were so inclined to an underlying message within the song, perhaps one that follows a duality of unique to the African diaspora's experience.

Truth be told, partiality is rapidly becoming an issue with the author. While each artist is typically given one fair shake on these pages, the musician seems featured below seems to to be slowly taking over the sight. But if that means more of StressMusik's work, so be it.




- J.N.

A Noggle Brain Trust, LLP. website

Monday Morsels (11 May 2015)

eh.. you know

After three long hours, there is just no end in sight for the most odious vocal performance in history

The devil's bird resides in the heart of the Valley of the Sun.

If nothing else the song is derivative. Any number birds could recreate the spread of sounds being produced; quite literally any amount. What this avian lacks in creativity it more than compensates for in range. Rarely has a sound been repeated since the show started. Variety is the essence of both music and life. Yet to claim an identity crisis seems, to the authors, like a stretch. If nothing else, the singer has shown a fervent sense of conviction. Breathes are few and far between. At no moment has any musical assistance been offered. Not all birds of a feather flock together.

And who could blame any creature able to escape the echo chamber from doing so?

Throughout the house - even at the corner store on an quick provisions run - its singing resounds.An amphitheater is simply not required. Put away the clay masks. Make sure to properly wrap the microphone cord before putting it back into storage. Either this bird has a set of human sized lungs or an optimal location has been scouted in advance. Needless to say, the audience reach has been maximized. Annoyance aside, though, the feat merits praise for its duration; although the fowl is hardly alone in its feat. The Beatles were known to perform between four and six hour gigs during their early days in Hamburg's red light district. Jam bands of any era have cut their teeth with marathon sets. Alas, no band can compare tto the length of and breadth of The Grateful Dead.

Hardly could that be considered keeping poor company.

And, truth be told, the bird is not even the most pressing problem. Any interest parties should note that the author's view on the cloud empire has already been made known. Of greater importance, then, is what this organic slapper represents: no control can be exercised over the track. The bird possesses complete sovereignty over the airwaves despite there only being one king of all media. An entertainer that pierces all media, though, is comparable, if not worse, to a beating heart under the floorboards; like a soundtrack that was not requested and cannot be stopped.

It is as if Koyaanisqatsi has been reimagined as a psychological thriller.

Naturally, then, the author's mind turns to music. Not only can earbuds drown any external sounds, but dulcimer dance melodies are typically featured (and enjoyed) on these pages. Loops are loving lauded. Yet it can be said that the difference between these sounds and the alluvian avian song is negligible. What makes one necessarily superior to the other? The answer is deeper than mere control over the pause/play button.

Music is the baseball of art, after all.

Aural compositions stand apart from other creative endeavors. A painting can be seen for a second just as easily as an infinite amount of time. Likewise, books are typically read at individually preferred paces. Even video games allow the option a range of different difficulties. But music and film stand alone. Both forms of expression require a tacit contract; a preordained amount of time must be committed to enjoying the entertainment as a whole. Each part represent a pixel on the overall image. Pace cannot be negotiated. Likewise, at least 51/54 outs are required for a baseball game to run its course. The amount of time varies as the events unfold, of course. But only an external force - in the ball & stick game's case, the elements - which can ultimately alter the inevitable course of events

But, for now, it seem that the bird has finally found the need for an intermission. The canary far away from has the waterfront stopped singing even if it could have been a contender. A decision must now be made on what will fill the silent void that follows.

                                                                                                                                                                   

Excessive ranting and raving now sufficed, onwards to this week's selections..

All pictures suffer the same malady. Subjects may be in focus. Each element, likewise, could be well aligned and lit to taste. But whether the image is printed, viewed on a screen, or culled from a dark room is ultimately irrelevant: presented on a two-dimensional plane is an inherently three dimensional concept.

Such is the problem which has plagued DJ Ary on these pages as of late. In spite of being a competent sound selector - a recent mix of the Alto Nivel back-catalog supports such a claim - the author has nonetheless taken a single piece of the man's repertoire and used it as a less than positive an example. If for no other reason, then, the mid-tempo afro-house  is presented below.

A joint effort, "Temporadas" sees the Mãn Juh producer team-up with independent beatmaker Puto Edson. But while the kuduro beat/bassline is unmistakable, the same cannot be said about its aesthetics. The four-to-the-floor kick drum is to be expected. Similarly, not much can be said for the clap fill on the quarter notes. It is the the two remaining drums, instead, that produce the most intrigue. Alongside the bass drum on the main beat is an indistinguishable metal percussive element that is present throughout. What remains is a cuica played on odd notes. Moreover, this friction drum serves a pragmatic purpose by occupying a rhythmic/melodic role on odd notes. After all, the two primary synths do not develop long, elegant phrasing. Each prefers a succinctness that allows for subtle adjustments throughout the two main section.



Coincidentally, the second selection is serviceable comparison to the song which precedes it.

Dadifox has been active for the past week. Rarely does the PDDG beatmaker debut consecutive songs with a similar sound. The present is no exception. Both instrumentation and beats typically follow a traditional vein. The approach to these tracks, however, is entirely unique to the Dj's style; aggressive without repelling listeners. It is for just this reason - in addition to the late week post on the matter - that the two kuduro-trap hybrids were not all alarming in appearance or surprising at their proficiency.

Alas, "Kibulos Grandes" fits nicely in the PDDG wheelhouse.

The tempo is much quicker than, "Temporadas." Likewise, the Dadifox song below is significantly more developed - the structure being Introduction-Chorus-Verse-V-C-V-V-C-Reprise with brief, but not rushed interlude transitions - in addition to placing a greater emphasis on treble than Ary and Edison. Case in point, an anthemic sixteen-beat melody central to the song. Carried by MIDI trumpet and flute, the melody is occasionally harmonized by a synth hum. Mid-way through the track, however, both sounds cut. A four-beat synth effect similar to past Txiga ventures is used among the sound of kuduro snare. But aside from this instance, a common thread is heard on the rhythm. Djembe tone slap syncopate on even beats while the shaker maintains steady on the triplets. The foundational beat, however, is made up of an indecipherable piece of percussion. A vaguely breakbeat notion is kept up as well. And like the instrument's identity, the sound itself is unique in its vaguely Brazilian funk profile.

As usual, the download is highly recommended



For his part, Firmeza was a staple presence last week as well.

In addition to a new track of his own accord, a second sound credited to the PDDG mainstay appeared as part of an upcoming Warp Records EP tease. The scene's profile is growing. Each of the stars are receiving more exposure But most surprising about "Noite Principe unica," is what, on the surface, appears to be a radical departure.

Fortunately, such is only the case on a surface level. As with nearly any Firmeza song, what follows is inherently rhythmic. The main beat is a kick/snare/clap with closed hi-hat syncopating. An open hi-hat is used briefly as well as a hand drum later on in the song's development. After all, there was plenty of room to grow when the layout is made up of verses; Introduction-A-B-interlude-C-interlude-D-E. Melodically, however, the song is rather slim. The nearest comparison is the last batch of BNM releases, which yet be groundbreaking in their own right. Which is to say that the bass frequencies are inseparable from the track itself. Phrasing is never longer than four beats. Key changes mark sectional ranges along with rhythmic variety. Synth and some record effort are used for both rhythmic and harmonic purposes. The cross-over potential is undeniable but the make-up is still elusively lusophone.

Fighting progress is futile. Evidently this new brand of song will come to form the next wave of Lisbon's infectious dance music. But, while not to the author's taste, optimism can be found is the notion that the development is still in a decidedly proto-stage.

- J.N.

A Noggle Brain Trust, LLP. website

Hip-Hop Crossover

Cities are fluid.

Not unlike the ocean, population centers ebb and flow.

Try as one might, only Ponyboy can stay golden forever. Only for a moment does each nameless metropolis appear to be steady; faceless but consistent. Alas, such an appearance is only a facade. Consider that the American political capital - hot, humid, and prone to periodic fires - has not always been located on the banks of the Potomac. Rather than take decisive action, Bolivia has opted to maintain two official capitals. But, perhaps, no greater case exists than that of Myanmar. For years Rangoon served a perfectly utile city; that is the country's leader developed with a taste for reading horoscopes. Suddenly, all major roads led toward Pyinmana. Rolling cities simply gather no moss.

Adaptation by any other name is only necessary to cope with the passage of time.

Music is no different. Much like Congo Square in New Orleans, the City of New York - specifically The Bronx - served as a nursery of sorts for hip-hop music. Dancehall migrated north and a novel iteration was formed. Variant soon started sprouting. G-Funk became a west coast anthem. Southern producers in Memphis took a cue from Miami and wholly embracing the Roland 808. Lyrical content became more diverse as delivery styles started to flourish all the while. Thus, the result has produced more of a botanical garden than a neatly maintained yard; each section curated by a handful of specialists. The genre, the style, has been embraced the world over. Oppressed people have found a means of expression just as pop music peddlers stopped to exploit the roses. Yet this post is concerned with neither the integrity nor the legacy of a cultural phenomenon which to which the author cannot claim any part.

So, instead, a distinct focus shall now be given to those with a strictly musical mindset; carefully experimenting like 'Mendel on the track.' What follows is a collection, aleit brief, of "recent" songs by producers familiar to these pages .

First up is Quinta do Mocho producer PowerMusic Beatz with a track titled, "MotherFucker Still." Built around two sections, the song could just as well have been released as an original and a remix. Instead, the pro the beatmaker add an occasional interlude to create a single, genetically modified creation. Beginning with a quaint enough introduction, the dainty notes of an mbira are heard above a hazy synth on the introduction. Soon afterward the drums begin; at which point the combination of closed hi-hat, hi-hat rolls, snare, and claps are paired with a descending bass. For all intents and purposes PowerMusic Beatz is presenting listeners with trap beat adorned with a horn section. Then the claps become more frequent. Synth is built into a crescendo and a crash indicates change is fast approaching. Cymbals are replaced with vocal syncopation. The tempo becomes much faster as the snare drum beats a familiar kuduro beat.

A very strong effort. Most impressive, though, is how the the same set of sounds are seamlessly used for two distinct concepts



The second selection is much closer to a straight trap beat. Percussive similarities between drill numbers past are particularly prescient. Look no further than this old Dj L/G herbo joint (not to mention this Parris Bueller/Lil Durk collaboration). Additionally, the melody bears a striking resemblance the OT Genasis song "CoCo."

But the song is worth examining regardless. After all, imitation is said to be the sincerest form of flattery.

Contrary to the previously covered Dj Ary production"Agora é Pra Valer"  - which essentially one drum track over another in a bizarre yet intriguing creation - DjangoBeats opts to fold a more exotic concept into an established idea. Although neither the closed hi-hat nor the hi-hat rolls are especially original, the seemingly off-beat splash cymbal is. Likewise, the Rotterdam beatmaker shows a preference for more a more breakbeat snare than would typically be expected from such a song; particularly on the hook. But the coup de grace on "Gangin" is much more technical. Listeners should not that both a male and a female set of vocal samples are recruited for syncopation. Such is the theme of the track: elegant variation. Two set of eight-beat bars are used interchangeably to create the full sixteen

Perhaps not the boldest statements, the ceiling on DjangoBeats is high. The author will say there is plenty of promising potential if not no other reason than the artist in question is just fifteen.



Notable Mention: StressMusik - "Regresso"

Once again the best has been saved for last.

As mentioned yesterday, StressMusik is in the middle of a new music spree; so much so that a "mega-post" of the man's work is surely in order. The Odivelas beat-maker is nothing short of a Musical Midas. If the author may confide in the readers, each time that a StressMusik song is initially heard he must resist the urge to punch himself in the face. Like Wayne and Garth, none of us are worthy.

But even more impressive is how the producer's has developed a comfort level which allows his to explore new genre concepts.

Such is the case below; titled "Regresso" the undercard is a hip-hop amalgamation, as well. But rather than explore the overlapping street credentials of kuduro and trap, StressMusik opts to infuse an heavy dose his trademark dose of glamour on an Introduction-Chorus-Verse-bridge-outro demo. The track opens with an unexpected, nearly Bay-area bounce. Unassuming harmonic synth is given direction by a kick/clap/snare rhythm. Once the track proper begins, however, the floodgates open. High-pitched synth uses all sixteen beats to get its point across as the rhythm has downsizes. What is now a single clap is syncopated by a bongo; the combination of which has subtly shifted the song into zouk. Snare rolls mark transitions; the second of which, from chorus to verse, results in an acoustic guitar elaborating the harmony while an open hi-hat marks quarter notes as the calp is replaced with snare. Of note, though, is that the snares used on the Introduction/chorus are distinct from the verse drum; the previous being slightly more compressed than the latter.

Another beautiful creation.

- J.N.

A Noggle Brain Trust, LLP. website

Puto San [Black Starz Dj's] - "Marimbas"

Due away with reason.

Nothing in this world makes any sense.

The author is of the firm opinion that logic serves a narrow purpose. In the event of a heated debate, for example, well-formed rhetoric is indispensable; like a gun in a knife fight. Still, life is random at best.  Like stars shooting across the sky without reason, outcomes are determined by chance. The ability to take decisions - free will as it were - cannot be undersold. Sovereignty of both movement and thought is at the very essence of what comprises humanity; no offense to opposable thumbs. But in a clear affront to common sense, it is said that the first shall be last and the last shall be firs.

Expect only the unexpected.

Titled "Marimbas," the song below is just one example of such a phenomenon. In spite of the title no mallet instruments are heard. Regardless, Puto San's latest effort is nothing short of stunning as the Paris-based beatmaker shares a wide-open electronic fairy tale that invites listeners to create their own adventure. Just seven or eight elements are used. Moreover, the Dj seems to have strategically chosen longer, 32-beat bars for this batida. Familiar sounds - such as the vaguely kuduro hi-hat rhythm - are heard. More important, though, is the negative space; that which is not heard. Tone and slap djembe are prevalent but no kick, snares, or bass are used. A ride cymbal only appears to transition from the introduction to the body. Equally sparse is the treble. A keyboard creates a backdrop which is harmonized by chanting vocals. The sole melodic element is an accordion that operates is an exquisitely silent way.

As with any fairy tale, however, a moral must certainly be presented; "Well, less is more, Lucrezia."



Notable Mention:  Cainda & Breyth feat Sp Deville - "Ta Ma Por (Maluco) (Original Mix)"

If not no other reason, the second selection is presented for the sake of contrast.

Released earlier this week, "Ta Ma Por (Maluco) (Original Mix)" is a joint afro-house effort by Cainda and Breyth with vocalist Sp Deville on hype duties. The tempo is fast and the percussion is varied, although not unusual. In addition to the kick/snare/hi-hat beat a ride is used for transition. Similarly, some splash cues the end of a bar. A bell is used to anticipate while a shaker delightfully swings. But the track's most significant accomplishment is the strong cross-over potential. Integrity has not been breached. Vocals remain in Portuguese and although way each of the three synths are used is reminiscent of an EDM, the melody is distinguishable from festival culture. Which is not to say the song below cannot be played at any number of foam or paint parties. If anything "Ta Ma Por (Maluco) (Original Mix)" can be equally at home in Luanda or Miami.

Thus a left hand turn implies breaking the rules where as a right hand turn implies accepting the rules and using them for an advantage.




- J.N.

A Noggle Brain Trust, LLP. website

Deejay Télio - "Cara De Santa" // Yudi Fox - "Moça Louca (Landim Remix)"

Judge every book in sight

Gutenberg's monster has terrorized the global village long enough.

The opportunity is ripe with possibilities. Throughout history, oppressed people have been unable to assert their rights. These forsaken groups, disenfranchised and  discarded, are left without political power; thus becoming second class citizens. Books, on the other hand, are revered. Not only are binded pages brazenly sold (both used and new), but large public centers exist - with rows upon rows of examples - revering literature free of charge. Short of the occasional bonfire, modern parchment scrolls have not a care in the world.

Most importantly, though, scapegoating allows for the clever deflection of attention; in this case, far away from the author's own misgivings. Consistency is difficult. Many drafts remain unpublished. Steadily, a backlog is created due to the appearance of new projects appear. If for no other reason, then, a rare double feature is presented below.

Less ominous than the aforementioned typeface, the first selection is more concerned with the human element than the written word. A mid-tempo kizomba, flashing elements of semba and zouk, "Cara de Santa" is both produced and performed by Deejay Télio. The main rhythm is made up by tabla/clap, although the previous plays a subtle swing as well. Additionally, claves very faintly syncopate behind magnifying scope of the two synths; one harmonic and one melodic. Acoustic guitar - star of the bridge - distinguishes the chorus from the verses. Over all, though, "Cara de Santa" is a novella to the epic poem. An eight beat bass with a heavy groove ultimately bring the track together.

The second selection is, likewise, a vocal kizomba track. Originally released last year, "Moça Louca," is a big track, just not at first glance. A single, ominous synth carries the harmony on the verse while the tom/snare beat carries the song forward; a bell syncopates all the while. The remaining sounds appear during the chorus to great effect woodwork. Not only is a guitar heard during the phrase but the bass fill is thick and the melodic synth is short and catchy. Additionally, the beat takes on an alternate form while adding a cymbal to the mix

All the while, Yudifox plays the role of pop singer as his delivery is equal parts sung and rapped. Auto-tune is only heavily relied on for falsetto portions. The present, however, is much more concerned Landim's beat which the producer revisited in a remix last week. Of immediate note is a busier rhythm section: kick/djemebe provide a foundation which is swung by a clap and shaker. For all intents and purposes, the harmony is identical save for a downward key shift. But, once again, listeners' attention should be focused on the chorus/refrain. Rhythm-wise, a snare roll is added to the mix while the bass maintains a modal compass until the last four beats when a dubstep kicker is used. Two synths are added - a high pitched melody and a mid-range harmony - which also play into the track's overall timing. One more acoustic surprise, though, is awaits in the bridge as well as a sneaky flute in the outro. The result is a significant improvement to an already very good song.


Notable Mention: StressMusik - "Batimentos" // Vany-fox Beat'z [SBM Recordz] - "Instrumental [4]"

In the interest of continuity, the second set of selections also fall under the kizomba umbrella.

What follows, though, is strictly instrumental.

The author has yet to hear a displeasing creation from the following beat-maker. Truth be told, the man might just be the k-pop Midas. StressMusik has an excellent feel for the million-dollar melody. A common thread on any kizomba is for emotions to run deep; StressMusik, on the other hand, is nothing short of an open vein. Luckily this independent, Lisbon based producer has been actively sharing new sounds for the past two weeks . Less than pleasant, however, is the unenviable task of making a choice that separates the wheat from the higher quality wheat.

Consider a number titled "Desafio," which combines the traditional with the modern to great effect. Using the sixteen-beat bar to his benefit, a dense bass is back-loaded on the verse allowing the track to breathe while maintaining a groove. Simplicity is key. A Single snare establishes the rhythm which is syncopated by claps; one synth in encharged with harmony while a second appears in the chorus melody alongside some snare rolls.

Similarly, guitar is central to "Batimentos." But is "Desafio" is California in 1849 then the song below is nothing short of El Dorado. The introduction begins quaint enough: an orchestral synth in the harmony is joined by djembe, claps, and snaps. Slowly, however, the track begins to develop the sound of keyboard appears in the second bar finally followed by the previously mentioned guitar. The layering is patient and deliberate. Kick/snare appear in the verse, providing the foundational rhythm, and a high-pitched synth similar to a theremin mark the chorus. But now of note is the structure: Introduction-Verse-Chorus-interlude-bridge-Chorus. Both guitar and drums disappear after the first hook. At which point a third, showstopping synth comes into play.

The author has still not heard a displeasing creation from the following beat-maker



The final selection also happens to be the most recent.

Being buried beneath three other very strong numbers, though, is no indictment of it's quality.

Readers would be diligent to note that Vanyfox has steadily been working on his craft. What began with one-off kuduro beats has slowly been developing into more fully realized concepts. One such example is the song that follows, generically titled "Instrumental [4]." The mid-tempo track is marked by a hi-hat/snare/kick beat with a finger snap syncopation. A djembe appears much later in the bridge/outro (the combination due to condensing). As with the previous sounds in this post, an acoustic guitar is inseparable from the song's identity. In contrast, piano is key as well as synth; the later adding depth. The chorus is marked by xylophone, rounding out a well curated spread of layered harmony/melody. While possible, the bass should not be overlooked.

Alongside the talented Mr. Tito, SBM is quickly becoming a formidable force.



- J.N.

A Noggle Brain Trust, LLP. website

Dj LiloCox [CDM] - "Matembe (Remix)"

Fix anything and everything; even if none of it is broken.

Do not fall into the trap of comforting familiarity

The time is right for improvement. Put those hands to good use by allowing the sun to rise above a refurbished home. Whether or not the abode is located on a haunted hill is of no importance; unless, of course, the ghost of Vincent Price is present. Excuses are moot. Good sense is simply unnecessary for a untaking personal project; rely solely on intuition. Go forth, set goals, and conquer. A house of spirits is will not build itself.

Yes, renovation is inevitable.

And in just such a spirit Casa da Mãe returns to these pages for the second time in two weeks. Following the appearance of a Ediifox/LiloCox dupla, the latter producer is back at work; this time with a remix. Titled "Matimba," the source song is a kuduro banger past credited to the Angolan duo Homeboyz Muzik. Simplicity is key. A single snare pounds out a recognizable rhythm as bass drum establishes the descending bass line. Syncopation is provided by a collection of vocals in addition to a shaker. The only melodic element is a horn collection. Far from mundane, however, the "Matimba" is a strong, elegant dance song.

Appropriately, then, improvement does not even cross LiloCox's mind. Instead. The song below essentially guts the original while building around the remaining structure; resulting in a nearly novel, and quicker, afro-house creation. While the beat is maintained many more drums are heard. In addition to the kick/hi-hat a tom drum swings. As in the original, a shaker is used but is adapted into playing triplets.  A tambourine hitch is appears on quarter notes as a djembe is heard much later. Partial female vocals are retained by only sporadically heard. The central element however, is the ambient synth serving as a backdrop. Three distinct sections sections make-up the track: Introduction-A-B-interlude-B-C-A-B

Honestly, though, the write-up is more or less a ruse. Of course the song below is well worth a download.



Notable Mention: Deejay Earl x DJ Taye - "In Nia'Alu - 5 Dolla A$$ VIP"

Similarly, the second selection prominently uses a vocal sample.

The finals product, however, is noticeably different.

Cymbals desperately try to keep up with the singing - seemingly from Sting's "Desert Rose"  - but reluctantly peter out after some sixteen beats. Such is the metaphor that best describes the latest joint creation from the minds Teklife disciples Deejay Earl and DJ Taye.

What follows can best be described as fluid. The principle elements are a hi-hat cymbal...snare drum...digital claps. An air horn is chopped up and rearranged for melodic purposes. In the latter stage, the sound of a xylophone passed through a USB port suddenly adds some harmony. By and large, though, the song titled "In Nia'Alu - 5 Dolla A$$ VIP," flows wherever the tide  (i.e. the bass) desires. Once the song proper begins, the loops become shorter. Slowly the subwoofer rumbles. Any nearby life with the force of a whirlpool. On the latter half, however, a change occurs. The bass plays a broken chorus; rises and falls.

An exhausting piece of work. Not bad just...overwhelming.




- J.N.

A Noggle Brain Trust, LLP. website

Tev'n - "MFY"

For all its faults and shortcomings, the United Nations does not possess any black helicopters.

Conspiracy theorists be damned.

Granted, the sequel to the failed League of Nations is not free from fault. Of note is water-based debacle on the island of Haiti; and recently a set of alleged dark atrocities in the heart of the African continent. But reckless new world order-type mercenaries the blue helmets are not. If UN is guilty of any criminal possessions, though, it is the hoarder sized set of acronyms in a backwoods hangar. The cryptic allusions range from mainstays such as UNICEF, IMF, and WHO, to more obscure bodies including ICAO (International Civilian Aviation Organization) and UPU (Universal Postal Union). But it was a Canadian named Lester B Pearson that said "We would have been in the soup if this force had been charged with the job of 'enforcing' anything;" presumably a reference to the general resolution on Campbell's alphabet.

Which is to say, mechanical black birds are not to be feared.

While not an international governing body, Tev'n has chosen to join in on the typographic fun. Just yesterday the London based artist shared "SLT;"  a track built around the first verse from the pre-Doris Earl Sweatshirt song "Drop."  One occurrence is a coincidence. A second case, however, marks the beginning of a trend.

Released Sunday night, "MFY" is less of an alteration and more of an original concept. But where "SLT" puts more emphasis of mood and melody, "MFY" is primarily concerned with rhythm and space. Heavily indebted to hip-hop, the 8-beat bars are built around hi-hat/kick/snare with two splashy cymbals providing some fill and depth. Melody is carried in equal parts by short electric guitar sample and vocal loop; a longer piano phrase is heard as well. Most intriguing though, is how Tev'n lays out the track. The first verse serves as the introduction, followed by a chorus, and then another verse. Then, the standard operating procedure is discarded. A section with semblance to a bridge, marked by some squeaky synth, is followed by a "screwed" section typically reserved for outro. Afterward, a reprise of the bridge is heard. Vocals open up and become more ambient with the drums - soft kick/snare - being pushed into the distance. An extended portion closes out the song an alternative take on the original rhythm and a new set of layered vocals.

Atypical and highly creative, the final result is a very strong song indeed.


Notable Mention: Noisdam. - "Waiting [Prod. by Lakim]"

The second selection is a much more relatable cut.

Perfectly ordinary, however, does not quite to the track justice.

A cross country effort, "Waiting" is a joint effort by Soulection producer Lakim and Chicago vocalist Nosidam (no-si-damn) released over the weekend. The R&B and neo-soul vibes are strong due in part to the economic nature of the beat. Each and every element counts. Including the vocals, just nine elements are heard throughout, beginning with the kick/snare rhythm. As promised, though, the sounds are not entirely typical. Hardly any bass is heard as quarter beats are left to the domain of a crash cymbal. The song's true beauty, however, is in the eurythmy of the melody. Every two bars a new synth is added. What begins as a light, fluffy harmonic synth, is joined by a high-pitched doing melody. Seemingly out of nowhere the sounds of glass harmonica appear with a longer phrase than the rest. And Lakim is not yet done, an eight stroked on an 8-bit synth lead toward a thick, LA funk bassline as the tension - both musically and lyrically - breaks and the rhythm turns into a something not unlike breakbeat.

None of which is meant to overshadow Noisidam's performance. Throughout the number the vocals are whispered. A sense of danger, like biting into the forbidden fruit, is given off. There is no over reliance on vibrato. Vocal runs are modest and effective. As previously mentioned, tension slowly builds only to crest; breaking not with power or volume, but with a minor change in the delivery. The flow alters and listerners are led into the sway of the evening that has been described.

No way around the obvious, just a very very good song




- J.N.

A Noggle Brain Trust, LLP. website

Dj Firmeza [PDDG] - "Perdido Em Espanha"

National anthems are indisputable bangers.

No other manner of song can bring the masses to their feet at just a moment's notice.

The results are obvious. Emotions are stirred. Reverence is paid by currency of applause. And with any discernible amount of luck, audiences are privy to a special rendition as well. There is Queen at Wembley in 1986. Jimi Hendrix and Ted Nugent have opposing takes on the "Star Spangled Banner," but there can only be one Marvin Gaye at the 1983 NBA All-Star game. Still, what no one will admit is that the feelings affixed to these compositions are entirely subjective. The author, for example, due to an close Belarusian friend, exhibits some partiality toward the old Soviet anthem despite of never having visited the country. Yes, nationalistic fervor certainly exists. It was Calle 13 that sang, "El que no quiere a su patria no quiere a su madre." Without the six senses, though, memories become difficult to conjure.

With regard to Spain, though, "La Marcha Real" is an objectively strong number.

Perhaps Firmeza has heard it, perhaps not. Such a notion, however, is largely irrelevant. What matters is that the PDDG beatmaker continues his 2015 pace of 2 tracks a month with a new song is titled "Perdido em Espanha." A fast paced batida, what follows is, apparently, the first taste of mixtape titled Tudo ou Nada and results are absolutely moving. The track is built around a four-beat kuduro rhythm with clave syncopation. A big, bouncing bass drum comforts the subwoofer while a fourth effect further swings; the frequency of which establishes is brought into the A-B section in the first half. Melody is sparse, even after the introduction of accordion in the second half. A single, ominous note harmonizes before a second exploit the negative space; section divided by the swinging sound as well. The only possible criticism is the over reliance on crash cymbal as a transitional effect.

While perhaps boring to some, the track is a testament to the idea that less can be more with proper organization and a natural feel for symmetry.



Notable Mention: Puto Wilson & Mix Bwé [C.N] - "Mixtape Kuduros"

Legacy wise, the second selection is not quite as storied as any anthem.

The beat-maker's online behaviour, however, does befit a head of state; albeit the sovereign nation of Freedonia.

Puto Wilson's antics are not new. Every couple of months the Casa Nossa/Avessos Produções Dj will simply wipe the SoundCloud slate clean. One or two tracks may be left behind. By and large, though, audio scraps are few and far between. So when a new level of eccentricity was reached this week when previously deleted tracks have mysteriously made their way back onto the internet landscape the author's interest peaked. Readers are recommended to venture a listen as these songs are sure to vanish once again.

But the present concerns a debut rather than a revisitation. Following the release of "Avess[oO]x No Beat," just two weeks ago, Wilson once again joins forces with frequent collaborator, the equally mysterious Mix Bwé. But what follows is less of a finished product and more of a teaser. With any hope the, though, four sections on "Mixtape Kuduros" will result in a full-length versions. The bass is mixed heavy any clean (no peaking). Melodies are carried by synths without the slightest semblance to a keyboard. In addition to the consistently strong sense of rhythm a few new sounds are heard in the form of a belland ope hi-hat as well as cuica in a vocal track near the end.

- J.N.

A Noggle Brain Trust, LLP. website

Monday Morsels (04 May 2015)

just songs or.. whatever

Summer is fast approaching

A certain premium cable provider prefers a wintry approach, but it is the dog days that should be most feared.

Are the good times ever here to stay? It seems that with each passing year their visit becomes shorter. Upon glancing at today's date the message become clear: this year is now awash. Such is the case, at least, from the author's observational porch here in the American southwest. Once April concludes delirious drivers begin to watch their car windows rise.  Likewise, a hermetic seal is created between living rooms and the outside world. The Sonoran desert slowly reverts back into an inhospitable oasis of man's own creation.

Yet such an opinion bucks the trend.

There is soon to be no more school for both the pupils and their beloved professor Cooper. Some call it a holiday, others prefer vacation; but the sentiment is all the same. Rest is good and relaxation is better. The beaches of San Diego will soon be overrun by eager pleasure seekers fervently fixated on open air cooking. Festive fire flights are sure to follow. Come July red glaring rockets flex all of their of their might; beads of sweat dripping down cold bottles of Hefe now perennially in sight.

Still, the obvious is difficult to ignore.

Consider all of the bunnies - altogether too many - that suddenly appear during spring. All of the animals are equal, but none are more equal to triple digit heat. The block is hot enough to fry any kind of egg. New England tolerates the snow for months on end but here the threat is much different; not to mention decidedly less visible. Concerts are typically good, making free admission all the better. Alas, two condition exist. First, the performance will not be shut down by any fire marshals and second, attendance is absolutely mandatory. Yes, the cicadas have already started to hum and no set of rabbit ears can apprehend a signal from nature's special source of static.

Be that as it may, there is not a single sensible reason to be entirely negative about the situation at hand.

Discomfort aside, the summer packs its own brand of positivity. Nostalgia is one the loose. Memories restlessly roam. Each drag on cigarette, in the middle of the day, under Helios's glaring guise, not a single warm breeze in sight, slowly burns a new breaktime endeavor into the smoker's mind. The outside air feels different as skin is sinfully seared. And, come nightfall, a certain warmth hangs heavy overhead. The song of the summer - be is six-digit desires, gold rush groupies, or a fanciful fracas - is irregularly heard. Cinema becomes louder and brighter, too. Altogether time is persistent and appears to move slower; to the point where clocks just might melt. Clouds of dust will run rampant upon the city; funny name and all. But, best of all, are the unexpected, lukewarm rainfalls in the middle of the night.

Sometimes, one must take all of the good while accepting some of the bad.

                                                                                                                                                                   

Excessive ranting and raving now sufficed, onwards to this week's selections..

Summer nights are hardly the same without a partner to love the day before it drifts away. Appropriately, then, the week's first is a collaborative effort. Once again the Black 'n' Power Beatz crew. Despite an affinity for more exotic sounds what follows is a mid-tempo from Dj Edý & dj kingfo0xx titled "Decalé da Familia;" the second joint effort from the duo this year. The foundational beat is built around a four to the floor kick while the kuduro snare plays onward. A synth haze provides the harmony while a four beat guitar carries the run; but such is not the case throughout.  Two sections differentiated by a synth seemingly taken from the "How It's Made" theme song. Frequent transitions and one-off peripheral sounds give the song a busier feel than is heard in actuality; syncopated djembe does not appear until the second half and, even then, sounds slightly drowned out. Nonetheless, the melody is well layered and the track is pleasant. As per usual, a download is available as well.



The second selection is also a mid-tempo afro-house with a beat built around the same kick/snare concept. Half as short and twice as dynamic, however, the track decidedly stands apart. Coincidentally, Dj Teklas D'cantwo - previously D'cantwo Junior - has not been featured on these pages since last summer. But in this period of time the beatmaker has been steadily at work; working alongside the likes of Dotorado among others and the progress shows. Despite being what the title suggests, "Welcome," demo the track below shows ample promise beginning with the two-bar, eight-beat intro. Beginning with a crash, the song's central element, a synth is presented after a crash cymbal, and reverb drenched guitar - later used as a back end fill - is soon to follow. As the first section begins, the Dj opts for an unorthodox transition. Rather than use a drum fill or cymbal, a single funk carioca beat is teased. The track promptly expands to sixteen beats. A second harmonic synth is added while some claves and female vocals swing; marimba somewhere in between all the while. Alas, the structure mimics that of a batida. Just as quickly as the number started, the producer leads listeners back to the beginning. A download is certainly recommended.



Outliers can be a nuisance where numbers and statistics are concerned. In the right brained realm, however, such anomalies are generally amusing to observe and typically welcome. Dj K30 is no exception. While the his Txiga cohort entrench themselves within increasingly percussive concepts, the producer at hand is a specialist in widening his gaze; a trend which is continued with his latest track. Released on Saturday, the song below is far from experimental kizomba built around a kick/hi-hat beat. Whistle and djembe providing hitches all the while; the latter adding some rolling 1/8 some batuco vibes near the end. Both structure and length are radio friendly. The song is predictably synth heavy - a total of four are ultimately heard - but in a throwback to semba the harmony is created by an electric guitar. Vocals syncopate during the chorus, piano and chimes are heard before the bridge. A well composed song given the busy make-up; the only negative being a bass that blends into its surroundings.



For the final two selection a slight left-hand turn is taken.

Far from insinuating a sudden shift toward the avant-garde, the author is merely implying a change of pace. Strictly speaking, no more  Luso-centric sounds are featured in the post. Such is the case with "Tele-VCO (Tiger mix)," a mid-tempo, minimal house song released last night. Although credited to Nortec Collective's Pepe Mogt the song could just as easily fit within the Matias Aguayo/Comeme umbrella.  The beat is built around a dynamic hi-hat that has been paired with claps. Some loose snare and cymbals are heard in the introduction but hardly play a role, The kick drum plays four to the floor as the standard pop structure unfolds. Organ and keyboard play the occasional fill and the horn section - trumpets up from, trombones in back - add some Latin flare to the central funk/disco bass.

But, perhaps, the writing does not do the song justice. The below is really very strong and the download is recommended; uncharacteristic statements from the author, an unrepentant house music hater.



Two years ago, upon the release of Acid Rap, Chance the Rapper sang, "I heard everybody's dying in the summer / So Pray to God for a little more spring"

Heatwaves bring violence; such a statement should serve as no surprise. Discomfort leads to anger which leads to poor decision making; at times resulting in death. But such a phenomenon is far from being limited to Chicago. Gun violence plagues the entirety of the American population; albeit skewed towards minority groups and those that are relegated to serving the economy rather than being served by it . Alas, what brought Baltimore, Maryland to the forefront of national and international focus last week does not concern a heinous act of this nature. Rather, a longstanding, and unconscionable trend exists in the United States whereby the public service sector serves different constituencies differently; a practice that has recently, and tragically been brought to the masses attention. As a result of this particular instance, scores of protesters have been arrested, a number of officers have been arrested, and six individuals stand accused of playing a role in the death of a civilian named Freddy Gray.

Music - art at large, really - hardly exists in a vacuum. Perhaps it is guilt, perhaps its altruism, but such a background is deemed necessary by the author; a decidedly caucasian individual of Puerto Rican and Jewish descent.

After all, the final selection hails from the Charm City itself. Coming off the heels of an excellent EP, titled "Starlife", alongside fellow rapper JB and producer ISMBeats, AG RapGod returns with a brief, slice of life freestyle - dedicated to family, friends, and the 301 - over the Scott Storch produced Beyonce track "Me, Myself, and I." AG speaks directly to the listener that as he chronicles the challenges that he has overcome as well as those that are still to follow regardless of confidence. The man intends to be influential   while bucking claims of being excessively traditional. But while reminiscent of New York, a rapid-fire Midwestern delivery is flashed; transitions timely and clean. Enunciation is clear and the train of thought remains on point. So much so is the MC committed to quality over quantity that he spits, "Write these verses like a sermon / The stronger the message the more the conversion / I serve 'em like Erik Sermon;" a shoutout to the old Dej Jam outfit EPMD. Cop the download for sure before AG "fucks shit up for the whole summer."




- J.N.

A Noggle Brain Trust, LLP. website