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 Many drafts remain unpublished.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
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