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
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