By now, the ending is well known.
Even Willie and Merle's road must eventually return to where it once started. The prodigal son in his own right, but not nearly as famous as his patented return home. No further evidence is necessary; or so the author feels. Something not unlike a pattern has presented itself. The world is a cold and vacuous place; and only Penelope's shroud can provide the warmth necessary to avoid cruel and foreign illnesses. Alas, the journey is always necessary. It is not difficult to imagine Magellan saying he would do it all again in an interview from the great beyond
Even the Dhammapada says that "When, after a long absence, a man safely returns from afar, friends and well-wishers welcome him on arrival."
More important, though, is the succeeding passage, which reads, "His own good deeds will welcome the doer of good." For just such a reason, then, the author has chosen to celebrate two triumphant returns. Dj MarinO first appeared on these ages nearly one year ago, and not much since then. Alongside the ubiquitous LyCoOx, this albiguously independent beat-maker cut a genre-bending track with flashes of hardstyle/EDM amidst a heavy afro-house swing. Such was the case with the "Funk VS MoOZart", as well. The classical music composer is heard from, as can be expected, but the track is able to combine not just an Angolan rhythm but some baile funk as well; a sound recently heard on Nidia Minaj releases as well as NedwytFox.
Then, for the first time in 2015, MarinO resurfaced two weeks ago with a song titled "Quebra." While not nearly as adventurous as the above examples, the song is a fast, strong afro-house/kuduro. Cymbals and shouted vocals switch of on triplets although the djembe swing is the rhythmic highlight and marimba steals the show at the end. Additionally, a second song was released that same day. Titled, "130" the song is unsurprising in its speed; albeit tamely subtle. Hi-hat carries the foundational rhythm while skipping the last beat. Shakers syncopate and a distant drum accents the second beats. But this track distinguishes itself in being a batuco. The melody is slim. A similar bassline to the one on the LyCOox track is heard as well as a rolling djembe, which proves to be more than enough.
And then there is "Reborn." Released late last week, what follows in more in line with the experimental vibes from last year's MarinO. Keeping in tune with recent developments, though, the track is of similar, demo length. Yet, "Reborn" seems more developed as well. Following the introduction, the track develops in a straight line and is interrupted only by a brief interlude; a new element added with each progression. In such a sense, the song recalls Black Starz Dj's in the added important each sound takes on. Begining with an afro-house snare rhythm and a quick, punchy bass, MarinO quickly adds a sixteen bar, kizomba piano section. Although quickly eliminated, the ivories are quickly replaced by male vocalization reminiscent of the Middle East and, appropriately enough, 56 Nights. Splash cymbal marks the fourth notes as a Brazil is revisited. Cuica rolling over quarter notes only to be replaced by hi-hat triplets. Djembe fills are ultimately added as the song does not complete a circle so much as create an elaborate parabola.
A very good song, but the download to all three is highly recommended. Certainly a producer to watch for.
Notable Mention: Dj EDÝ [B.N.P.B] - "Estou de Volta"
In similar fashion, another beat-maker makes a triumphant return
Although, granted, this absence was not nearly as long
In the author's estimation the new B.N.B.P. logo is fire. Appropriately, the Dj EDÝ track is just as feverish. Two weeks removed from his last appearance, the young producer has shared kizomba/afro-house track titled "Estou de Volta." The track is far from an instrumental in need of vocals. A quintessential pop structure is absent. Following the introduction, the song progresses A-B-C-B-C-interlude-A-bridge-B-C where the second section is the head and the third is the chorus. Snare serves up the quick, foundational beat as the hi-hat swings and a cowbell-fill rounds out fourth beats. Bass comes to serve the rhythm and melody in equal parts. Synth harmonizes while acoustic guitar carries the melody. A second harmony synth is heard on C in addition to one for melody and some MIDI horns.
All in all, the gunshots at the beginning are merited.
- J.N.
A Noggle Brain Trust, LLP. website
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