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
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