But, perhaps, some states are much more equal than others.
With that having been said, a full disclosure is in order. The current post has not been written under the guise of objectivity. Parties interested in a lack of bias are advised to search elsewhere. Instead, what follows is prideful and partial; fawning at the mouth, as a "very festive people" are wont to do. At any rate, the land mass in question is not, and has never been, a country in the traditional sense. These words might read as rough, but these feelings run deep. But such is the nature of the author's beloved island: a nation which Cultura Profetica once described as, "El unico pueblo latinoamericano que nunca se libero." The sentiment, though, is not uncommon. Identity and political status have long been a focal point for Puerto Rican artists during the last 116 years. Bards have sung, and will continue to sing, of Borikén's history in spite of tyrants' black magic because the island will be beautiful even "Sin banderas sin laurios ni gloria."
The sky is free its star flies alone.
But until that day when the status quo might change, parades shall gladly serve as a substitute. And so, in coinciding with this year's events, Chicago's-own Traxman released a fresh track on Saturday. Titled, "Puerto Rican Day (Juke Edit)" the song marks the second time in recent memory that the good DJ has found inspiration in Latin quarters; mainly the used an old Fania track graced by presence of the late Celia Cruz.
But the song in question - a quick number which favors the ghetto house roots over a contemporary footwork checklist - revolves around three different samples, beginning with two succinct male vocals. Claps provide a base-rhythm as the hi-hat is used toward four-to-the-floor purposes. Bass creates an underlying bounce while the fills and other syncopation are largely played by a snare; though scraper and miscellaneous percussion are heard as well. Once the introductory sounds are scaled back, though, the familiar sound of salsa are heard; coincidentally thr same Elvis Crespo song which inspired LyCoOx not too long ago. But ever the dynamic composer, change is to follow Corky Strong as the samples that follow are Yandel's "Moviendo las Caderas" as well as the forgettable 2012 sensation "We No Speak Americano."
Although it comes off as a medley, the selection is forceful and effective.
Notable Mention: Puto San [Black Starz Dj's] - "Bifee"
The second selection has a Latin connection as well.
This line, however, is not particularly bold.
Fortunately, quality is an able source of consolation; not to mention an element in which Black Starz Dj's specializes. The author has not heard a poor song from this transnational crew and the song below is no exception. Released over the weekend by Puto San, "Bifee" is mid-tempo to quick paced afro-house song with abundant percussion and a "RADIOLATINA" tag (likely in reference to a Parisian radio station). Lick drums establishes a foundation four-to-the-floor. Meanwhile, fembe creates an Angolan, kuduro beat. Ride cymbal is used for transitions while crash is the preferred method cue within a section, of which there are three. Vocals samples accent even notes, only to be joined by a friction drum and whistle at different moments. While largely absent, the bass is not missing. Mixing is clean; nearly medically sanitary in its level of subtlety. Any participant, though, is sure rewarded by a track that is able to induce a good trance.
The far superior track, though, comes from a different Black Starz DJ's member. Jaardel is part of the group's Portuguese contingent and deserves just as much attention. As a matter of fact, this quick aside does neither the man nor his music any justice. Alas, "G Original" is now two weeks old; exiting largely is the sphere beyond relevant publishing material. Regardless, the track is a veritable marvel. The sixteen beat, acoustic guitar melody is noteworthy but far from the show stopper. Polyrhythms are abound on a song that flirts with being a minimal batuco. Hi-hat/tom create the beat but are methodically eroded. Sticks are beat together as woodblocks ease into the groove and percussion ranging from drums to bells play away. Simply excellent.
- J.N.
A Noggle Brain Trust, LLP. website
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