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
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