Due away with reason.
Nothing in this world makes any sense.
The author is of the firm opinion that logic serves a narrow purpose. In the event of a heated debate, for example, well-formed rhetoric is indispensable; like a gun in a knife fight. Still, life is random at best. Like stars shooting across the sky without reason, outcomes are determined by chance. The ability to take decisions - free will as it were - cannot be undersold. Sovereignty of both movement and thought is at the very essence of what comprises humanity; no offense to opposable thumbs. But in a clear affront to common sense, it is said that the first shall be last and the last shall be firs.
Expect only the unexpected.
Titled "Marimbas," the song below is just one example of such a phenomenon. In spite of the title no mallet instruments are heard. Regardless, Puto San's latest effort is nothing short of stunning as the Paris-based beatmaker shares a wide-open electronic fairy tale that invites listeners to create their own adventure. Just seven or eight elements are used. Moreover, the Dj seems to have strategically chosen longer, 32-beat bars for this batida. Familiar sounds - such as the vaguely kuduro hi-hat rhythm - are heard. More important, though, is the negative space; that which is not heard. Tone and slap djembe are prevalent but no kick, snares, or bass are used. A ride cymbal only appears to transition from the introduction to the body. Equally sparse is the treble. A keyboard creates a backdrop which is harmonized by chanting vocals. The sole melodic element is an accordion that operates is an exquisitely silent way.
As with any fairy tale, however, a moral must certainly be presented; "Well, less is more, Lucrezia."
Notable Mention: Cainda & Breyth feat Sp Deville - "Ta Ma Por (Maluco) (Original Mix)"
If not no other reason, the second selection is presented for the sake of contrast.
Released earlier this week, "Ta Ma Por (Maluco) (Original Mix)" is a joint afro-house effort by Cainda and Breyth with vocalist Sp Deville on hype duties. The tempo is fast and the percussion is varied, although not unusual. In addition to the kick/snare/hi-hat beat a ride is used for transition. Similarly, some splash cues the end of a bar. A bell is used to anticipate while a shaker delightfully swings. But the track's most significant accomplishment is the strong cross-over potential. Integrity has not been breached. Vocals remain in Portuguese and although way each of the three synths are used is reminiscent of an EDM, the melody is distinguishable from festival culture. Which is not to say the song below cannot be played at any number of foam or paint parties. If anything "Ta Ma Por (Maluco) (Original Mix)" can be equally at home in Luanda or Miami.
Thus a left hand turn implies breaking the rules where as a right hand turn implies accepting the rules and using them for an advantage.
- J.N.
A Noggle Brain Trust, LLP. website
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