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
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