Thursday, July 30, 2015
DJ Kappa Jota [Kappa Stress Soundzz] - "La Txon de Portugal"
The opportunity to share some funana does not require a reason
Some information, though, can be of some use.
All of Dj Kappa Jota's previous appearances on these pages occurred under the oft-repeated moniker: Dj Karfox. But it seems that a recent rebranding bears a strong underpinning of practicality; or so the the Amadora based beat-maker would have listener's believe. Certainly a similarity to the internationally recognized producer Marfox does not require much strain to see. Imitation might not always be the sincerest form of flattery.
Fortunately, the trademark Karfox techno-style remains unscathed
In fact, July has been an active month for the Guinean/Cabo Verdean musican rich in funana cuts. Beginning with "Criola Matxicada" this independent producer finds the groove while juggling three pieces of percussion and a creeping snare hitch on the 1/8 beat. The melody is carried by accordion and a synth that sounds out of the F-Zero soundtrack but would soon include more "Rapica na gaita" is essentially a remix of the above sone with an added siren and drum as well as a vocal sample. Most impressive, though, is the six minute "Mixibioti (Nha Mudjer)." Signs of an increasingly harmonic bass are heard. Guitar is introduced as an element available to the Kappa Jota funana register. Mastering is an issue but only because the peaking presumably deters illicit recordings.
But, as recently mentioned, producers are to be judged by the quality of their pop melodies.
The vibraphone current is strong on "Kizomba beat 1." The bass grooves heavy as well. Regardless, the disco guitar playing in the distance is a surprise; an idea expanded upon later. A djembe and claps are added but the rhythm make-up fits the beatmaker's profile with the addition of cymbal hitches on the 1/8 and 1/16 beats. At such a point, mentioning the jazz-piano melody in the body only seems unfair; the stuttering trap hi-hat only rubs the point in that Kappa Jota is very good at music and music related activities. In many waysl then, "La Txon de Portugal" is the culmination of what has recently transpired. Four songs are mixed together over the span of two minutes; including a false start at the beginning that is hyped by a horn in the second loop. Both accordion and guitar melodies are heard as well as hype and straight vocals.
Nothing negative to report
Notable Mention: Deejay Kvn - "Funana Cheiirinhoo"
The follow-up feature is communist.
Dialectical in existence, its role varies by day.
To each post according to its need, today's notable mention seeks to fill a void. Two-minutes is far from enough to satisfy the funana thirst. Fortunately, a similar concept - and nearly twice as long - appeared earlier today. Then again, the curator iin question is known for such an undertaking many times over.
Put together by France's Deejay Kvn (pronounced: Kah-veh-en) is heavy on the accordion melodies, plenty of love is given to synths as well; the odd guitar is heard eventually. Vocals are mostly used for hype but are present throughout. Changes are frequent; nearly every two to four-bars with only one brief break at the middle A left-hand turn is taken near the end. The sounds become electronic and the syncopation slightly more adventurous. And just as it begun, the listener's time with the audio mosaic comes to a close (until Kvn resurfaces is a month or so)
As with the rest of the Paname based DJ's work, the download is recommended for binge listening purposes. .
- J.N.
A Noggle Brain Trust, LLP. website
Tuesday, July 28, 2015
DJ Set I can't Ado Much About - Dj 5Etwal D'jazz Dj'aa "It's Getting late Live Fort Myers"
Forget about the quorom.
Interacting with other people is necessary.
The life of solitude has, if not ironically, a surplus proponents throughout history. It is by sheer coincidence that society now happens to be adapting. In fact, half of the American population is now living the single lifestyle. Two-and-a-half children no longer made up the dream. Isolation is becoming the norm. Such a point was especially prescient at the baseball game earlier this year between the Chicago White Sox and the Baltimore Orioles played in front of a zero - count 'em, zero - people; and, it just so happens, that the author is in favor of extending the notion more widely across the spectrum of entertainment. There was the Bob Dylan concert for a single person, after all. Although such down by the city, Chief Keef attempted just such a feat by means of a holographic performance. And, perhaps not all the same, but there is plenty of filed copy concerning the nature of Death Grips concerts where in spite of the audience, advertised performers fail to materialize.
The present, however is decidedly more traditional.
Little information is provided. Substance, however, is made due from what is provided. As such, the author posits a series of assumptions: Dj 5Etwal D'jazz Dj'aa is a Miami based party-selector and head of the Belizaire Music Group. Needless to say, the relevant Instagram feed is active. Plenty of events require music; and what follows seems to be just one example. Heard below is an eleven minute excerpt from a presumably longer set performed at the end of March. Kompa and gouyad are the legal tender. Vocals tracks are played and some hype is provided but this mix favors the instrumental. Synth is prominently featured over 16 beat loops; yet the multifaceted electric guitar portions are just as worthy of examination. Seamless transitions assist in building up a trance in a performance not to be confused with monotonous. Key changes in synth are also used to increase intensity. Guitar will change up the strumming for its part as two levels of syncopation are maintained throughout.
A shame that no download link is provided. Highly recommended.
- J.N.
A Noggle Brain Trust, LLP. website
Interacting with other people is necessary.
The life of solitude has, if not ironically, a surplus proponents throughout history. It is by sheer coincidence that society now happens to be adapting. In fact, half of the American population is now living the single lifestyle. Two-and-a-half children no longer made up the dream. Isolation is becoming the norm. Such a point was especially prescient at the baseball game earlier this year between the Chicago White Sox and the Baltimore Orioles played in front of a zero - count 'em, zero - people; and, it just so happens, that the author is in favor of extending the notion more widely across the spectrum of entertainment. There was the Bob Dylan concert for a single person, after all. Although such down by the city, Chief Keef attempted just such a feat by means of a holographic performance. And, perhaps not all the same, but there is plenty of filed copy concerning the nature of Death Grips concerts where in spite of the audience, advertised performers fail to materialize.
The present, however is decidedly more traditional.
Little information is provided. Substance, however, is made due from what is provided. As such, the author posits a series of assumptions: Dj 5Etwal D'jazz Dj'aa is a Miami based party-selector and head of the Belizaire Music Group. Needless to say, the relevant Instagram feed is active. Plenty of events require music; and what follows seems to be just one example. Heard below is an eleven minute excerpt from a presumably longer set performed at the end of March. Kompa and gouyad are the legal tender. Vocals tracks are played and some hype is provided but this mix favors the instrumental. Synth is prominently featured over 16 beat loops; yet the multifaceted electric guitar portions are just as worthy of examination. Seamless transitions assist in building up a trance in a performance not to be confused with monotonous. Key changes in synth are also used to increase intensity. Guitar will change up the strumming for its part as two levels of syncopation are maintained throughout.
A shame that no download link is provided. Highly recommended.
- J.N.
A Noggle Brain Trust, LLP. website
Friday, July 24, 2015
AleexProduções [Black Starz Dj's] - "AfroLatin"
Go build an island.
Oceans will not mind the construction.
After all, in this, the year of our lord, two thousand and fifteen, underwater escapades are bow a common occurrence. Not even the northernmost seas are immune to bipedal exploration. Look no further than Macondo: here, not even a colonel could stop the Earth from bleeding for a total of 87 days. Alas, the present is not a time for weeping. Celebrate that the seven seas are in the midst of a landform renaissance instead. For the first time in sixty-years the threat of bay crawling swine has ceased; which is to say that tensions have eased. In the mid-Atlantic, where hurricanes for, the United States and Cuba slowly continue to make-up (heretofore). And, as-per-usual, Europe is not one to be left out. Greeks are once again able stand on the sure footing of their ancient peninsula despite threats that the nation might just float-off into the Mediterranean. But no country has proven itself more innovative than China.
Then again, it was the Buddha that said "Make an island for yourself! Strive hard and become wise!"
No proof is offered on such a claim. The author has admittedly - and to be perfectly honest, with shameful amounts of pride - decided to base such notions on absolute speculation. A convenient narrative springs forth; and at the return of Black Starz Dj's most prominent beatmaker nonetheless. For the first time in six months, Puto Alex has shared new music. Three new tracks have appeared in little over a week. No disappointment has thus been sussed out. In fact, all the relevant boxes have been checked on the producers' list of musical traits. A perseverant streak of the traditional is heard. Percussion is rich. Melodies, if anything, recall techno. But Aleex's two most prominent profiles are shown; the single synth "PanicOo" is housier with a deep groove while "Fezadaa" is the more aggressive beat. Of note as well is the continuation of a giving human feelings to bongos. Such examples being: MeloO BongoO, Bongos Agresivos, and JaarDel's Bongos Confusos.
Most important, however, in measuring any beatmaker worth than judging an attempt at constructing a good melody.
Kizomba and zouk cuts serve as optimal opportunity. In short, Aleex is very good.
Titled, "Afro Latin," the track below does not deviate from what is stated above. The mid-tempo house song is on the quicker end where pace is concerned and is made of of three equally divided section. Somewhere between seven and ten different pieces of percussion are heard. Both instrumentation and accents on the beat are, it seems, relatively. latin Kick/Hi-hat generally provide the underlying rhythm while clap or djembe/bongo syncopate. In addition to the thick layer of bass, and ambient synth carries harmony while a single note synth the melody until the final section. Guitar is ultimately added to the instruments Aleex has used, most notably accordion.
Whether sandbar or island is none of the author's concern. Listening, though, is highly recommended.
Notable Mention: Wagner Teixeira - "Havaianas"
Similar accolades can be lauded upon accompanying artist
The fact that the name sounds not unlike unlike what a bad Brazilian pseudonym might to the author is a separate matter entirely.
Wagner Texeira is based out of Lisbon. Similar to Black Starz Dj's, the independent beatmaker follows in a purist vein. Drums are beaten a-plenty. Polyrhythms are the dancer's playground. With a still expanding canon, it seems as though faster tempos are favored and that Killer is a frequent collaborator. But what jumps out the most at any listener is the commanding snare drum.
The track below is no exception; and follows the island theme to boot. A fast paced batida, "Havaianas," is carried by a kick/hihat beat and bell transitions. Techno predominantly shines through where genre is concerned. A single sound with an echo effect carries the melody while north of six drums play at any given time. Bass is heavy and grooves well. Finally, the song follows a typical intro-A-B-A pattern. What jumps , where structure is concerned, however, is the fat thirty two bar loop is the center of the song.
Aggressive sounds. Play cautiously
- J.N.
A Noggle Brain Trust, LLP. website
Oceans will not mind the construction.
After all, in this, the year of our lord, two thousand and fifteen, underwater escapades are bow a common occurrence. Not even the northernmost seas are immune to bipedal exploration. Look no further than Macondo: here, not even a colonel could stop the Earth from bleeding for a total of 87 days. Alas, the present is not a time for weeping. Celebrate that the seven seas are in the midst of a landform renaissance instead. For the first time in sixty-years the threat of bay crawling swine has ceased; which is to say that tensions have eased. In the mid-Atlantic, where hurricanes for, the United States and Cuba slowly continue to make-up (heretofore). And, as-per-usual, Europe is not one to be left out. Greeks are once again able stand on the sure footing of their ancient peninsula despite threats that the nation might just float-off into the Mediterranean. But no country has proven itself more innovative than China.
Then again, it was the Buddha that said "Make an island for yourself! Strive hard and become wise!"
No proof is offered on such a claim. The author has admittedly - and to be perfectly honest, with shameful amounts of pride - decided to base such notions on absolute speculation. A convenient narrative springs forth; and at the return of Black Starz Dj's most prominent beatmaker nonetheless. For the first time in six months, Puto Alex has shared new music. Three new tracks have appeared in little over a week. No disappointment has thus been sussed out. In fact, all the relevant boxes have been checked on the producers' list of musical traits. A perseverant streak of the traditional is heard. Percussion is rich. Melodies, if anything, recall techno. But Aleex's two most prominent profiles are shown; the single synth "PanicOo" is housier with a deep groove while "Fezadaa" is the more aggressive beat. Of note as well is the continuation of a giving human feelings to bongos. Such examples being: MeloO BongoO, Bongos Agresivos, and JaarDel's Bongos Confusos.
Most important, however, in measuring any beatmaker worth than judging an attempt at constructing a good melody.
Kizomba and zouk cuts serve as optimal opportunity. In short, Aleex is very good.
Titled, "Afro Latin," the track below does not deviate from what is stated above. The mid-tempo house song is on the quicker end where pace is concerned and is made of of three equally divided section. Somewhere between seven and ten different pieces of percussion are heard. Both instrumentation and accents on the beat are, it seems, relatively. latin Kick/Hi-hat generally provide the underlying rhythm while clap or djembe/bongo syncopate. In addition to the thick layer of bass, and ambient synth carries harmony while a single note synth the melody until the final section. Guitar is ultimately added to the instruments Aleex has used, most notably accordion.
Whether sandbar or island is none of the author's concern. Listening, though, is highly recommended.
Notable Mention: Wagner Teixeira - "Havaianas"
Similar accolades can be lauded upon accompanying artist
The fact that the name sounds not unlike unlike what a bad Brazilian pseudonym might to the author is a separate matter entirely.
Wagner Texeira is based out of Lisbon. Similar to Black Starz Dj's, the independent beatmaker follows in a purist vein. Drums are beaten a-plenty. Polyrhythms are the dancer's playground. With a still expanding canon, it seems as though faster tempos are favored and that Killer is a frequent collaborator. But what jumps out the most at any listener is the commanding snare drum.
The track below is no exception; and follows the island theme to boot. A fast paced batida, "Havaianas," is carried by a kick/hihat beat and bell transitions. Techno predominantly shines through where genre is concerned. A single sound with an echo effect carries the melody while north of six drums play at any given time. Bass is heavy and grooves well. Finally, the song follows a typical intro-A-B-A pattern. What jumps , where structure is concerned, however, is the fat thirty two bar loop is the center of the song.
Aggressive sounds. Play cautiously
- J.N.
A Noggle Brain Trust, LLP. website
Thursday, July 23, 2015
DJ Set I can't Ado Much About - Deejay Bubas [FDM Produções] - Mix Parte 2
Introductions are rarely necessary.
Individuals wealthy in time consider formalities to be luxury.
Fortunately, life is best experienced in a state of surprise. Tread on without any spoilers, dear readers. Let major events organically unfold. Synopses are a crutch for the weak and the wicked. Do not fear sight of M. Night Shyamalan; a twist might already be in the midst of developing. Consider that the world is full of snow globes. The only element missing is a child ready to stare aimlessly into its glass, and surely the world has surplus of youth. Plus, the clairvoyant economy is single-handedly buoyed by uncertainty. It seems irresponsible, in these dire financial times, to wage war on an entire industry.
But the current post merits a certain amount context, nonetheless.
Ironically, Bubas is a man of few mysteries. The brand at hand trudges on strong; which is not to say the beatmaker is stagnant. A series of changes have steadily occurred over the course of a year. Most visible to the B-Side A-Hole faithful might be the name changes (Deejay Bubas to Bubas Produções to Bubas Productor). Likewise, the associated imprint has been shortened from Filha da Mãe Produções to FDM Beatz. Yet, throughout the process, the Queluz beat-maker has remained delightfully consistent; nothing short of a model for cyber-hustling. The work ethic is enviable. An argument can be made that no one on SoundCloud grinds harder; and as such these pages have not dedicated the man all of the attention he deserves. Despite being known for ninety-second tracks, Bubas is responsible for upwards of fifty releases and is has begun to reap the benefits of increased exposure. High profile collaborations have begun trickling; such as a dupla with the borderless Nidia Minaj. Most telling, perhaps, is the prominent role Bubas plays in a recent Puto Marcio/Puto NunOo mix titled "Aquecimento."
And the reasoning is simple: young OG Bubas is a clean, classic man.
While contemporaries have begun gravitating toward spectrum poles, Bubas has not rerouted. The mix below is no exception. A sequel to last year's "Mix Afro," the compilation that follows makes an excellent good case for the value of being a purist. Compromise is nowhere to be heard. Paths of least resistance - mainly genre cannibalism - are left untrod. Likewise, the temptation to hack at the untamed fields of the left hemisphere is successfully beaten away. Effects du jour are absent. Extensive instrumentation is irrelevant. Instead, what follows is more akin to an extreme moderate as traditional African music is allowed to exist from from tinkering.
Bubas lives and dies by the percussive arrangements. Like a good sermon, the premise is established by means of an underlying beat (usually closed hi-hat or snare); once a trance is established, though, minor changes serve to magnify the effect. Afro-house and batco rhythms are of a modest pace. Vocal samples and single-note synths, as well as the occasional droning element, only play a supporting role for whatever section may require such services. Transitions come care of fades but are typically seamless. Two of the most interesting moments, however, some at 0:56 when a hip-hop beat is heard and 7:45 when the DJ gleefully toys with the gain.
A very good collection that can only be criticized for lacking a download link.
- J.N.
A Noggle Brain Trust, LLP. website
Individuals wealthy in time consider formalities to be luxury.
Fortunately, life is best experienced in a state of surprise. Tread on without any spoilers, dear readers. Let major events organically unfold. Synopses are a crutch for the weak and the wicked. Do not fear sight of M. Night Shyamalan; a twist might already be in the midst of developing. Consider that the world is full of snow globes. The only element missing is a child ready to stare aimlessly into its glass, and surely the world has surplus of youth. Plus, the clairvoyant economy is single-handedly buoyed by uncertainty. It seems irresponsible, in these dire financial times, to wage war on an entire industry.
But the current post merits a certain amount context, nonetheless.
Ironically, Bubas is a man of few mysteries. The brand at hand trudges on strong; which is not to say the beatmaker is stagnant. A series of changes have steadily occurred over the course of a year. Most visible to the B-Side A-Hole faithful might be the name changes (Deejay Bubas to Bubas Produções to Bubas Productor). Likewise, the associated imprint has been shortened from Filha da Mãe Produções to FDM Beatz. Yet, throughout the process, the Queluz beat-maker has remained delightfully consistent; nothing short of a model for cyber-hustling. The work ethic is enviable. An argument can be made that no one on SoundCloud grinds harder; and as such these pages have not dedicated the man all of the attention he deserves. Despite being known for ninety-second tracks, Bubas is responsible for upwards of fifty releases and is has begun to reap the benefits of increased exposure. High profile collaborations have begun trickling; such as a dupla with the borderless Nidia Minaj. Most telling, perhaps, is the prominent role Bubas plays in a recent Puto Marcio/Puto NunOo mix titled "Aquecimento."
And the reasoning is simple: young OG Bubas is a clean, classic man.
While contemporaries have begun gravitating toward spectrum poles, Bubas has not rerouted. The mix below is no exception. A sequel to last year's "Mix Afro," the compilation that follows makes an excellent good case for the value of being a purist. Compromise is nowhere to be heard. Paths of least resistance - mainly genre cannibalism - are left untrod. Likewise, the temptation to hack at the untamed fields of the left hemisphere is successfully beaten away. Effects du jour are absent. Extensive instrumentation is irrelevant. Instead, what follows is more akin to an extreme moderate as traditional African music is allowed to exist from from tinkering.
Bubas lives and dies by the percussive arrangements. Like a good sermon, the premise is established by means of an underlying beat (usually closed hi-hat or snare); once a trance is established, though, minor changes serve to magnify the effect. Afro-house and batco rhythms are of a modest pace. Vocal samples and single-note synths, as well as the occasional droning element, only play a supporting role for whatever section may require such services. Transitions come care of fades but are typically seamless. Two of the most interesting moments, however, some at 0:56 when a hip-hop beat is heard and 7:45 when the DJ gleefully toys with the gain.
A very good collection that can only be criticized for lacking a download link.
- J.N.
A Noggle Brain Trust, LLP. website
DJ Set I can't Ado Much About - Dj Matafesta & Dj Michel - Welcome to RM Family, Afromix Style Vol. 2
Always walk, never run.
Speed is feat best left to the professionals.
After all, making difficult tasks seem easy is a true sign of greatness; momentum management included. For just such a reason, then, the author has long revered the universe at large. To the uninitiated, multitasking seem insurmountable. While Expanding the parameters of reality seems impossible on the surface, doing so while accelerating is simply awe-inspiring. Odometers truly kneel before the cosmos. Thus, any master seeking to hug the learning curve while racing past must first remain diligently at work. Fun only lasts until a fire extinguisher is needed after a hundred meter dash. But still, with just right amount of physical gifts and discipline, shooting arrows at sprinting stars remains a viable.
For the rest - turtles to the world's hare - the compilation below will surely suffice
Released earlier this week, what follows is a joint effort from RM Family Djs Matafesta and miCheL; the latter of which is responsible for a good funana mix in the not so distant past as well. The present, however, is different. A wider audience in mind. And so, as the name might suggests, the mix follows an inoffensive past. But largely composed of fast-paced Angolan afro-house and kuduro, a quaint element is retained by the production duo. Intentions are clear from the beginning - as evident by the bold decision to begin with a remixes of "Botão" and "CoCo." Listeners and dancers alike are impolitely asked to recklessly turn up; demands which the audience would wise to abide by. After all, the theme does not change throughout the selection's duration. But more impressively the energy level is successfully maintained, if not placed into a controlled descent. In spite of forgoing any warm-up toward a full-sprint, thus backing themselves into a corner, sufficient reserves are retained. For all intents and purposes, a common bassline is pieced together. Aggressive four-beat synth melodies not unlike an EDM set fuel the audience. Different vocal styles and subtle syncopation changes assures sufficient variety as well; which is to say there is no over reliance on bangers (although the a certain Mauricio Pastrana track works to great effect).
Needless to say the download is highly recommended
- J.N.
A Noggle Brain Trust, LLP. website
Speed is feat best left to the professionals.
After all, making difficult tasks seem easy is a true sign of greatness; momentum management included. For just such a reason, then, the author has long revered the universe at large. To the uninitiated, multitasking seem insurmountable. While Expanding the parameters of reality seems impossible on the surface, doing so while accelerating is simply awe-inspiring. Odometers truly kneel before the cosmos. Thus, any master seeking to hug the learning curve while racing past must first remain diligently at work. Fun only lasts until a fire extinguisher is needed after a hundred meter dash. But still, with just right amount of physical gifts and discipline, shooting arrows at sprinting stars remains a viable.
For the rest - turtles to the world's hare - the compilation below will surely suffice
Released earlier this week, what follows is a joint effort from RM Family Djs Matafesta and miCheL; the latter of which is responsible for a good funana mix in the not so distant past as well. The present, however, is different. A wider audience in mind. And so, as the name might suggests, the mix follows an inoffensive past. But largely composed of fast-paced Angolan afro-house and kuduro, a quaint element is retained by the production duo. Intentions are clear from the beginning - as evident by the bold decision to begin with a remixes of "Botão" and "CoCo." Listeners and dancers alike are impolitely asked to recklessly turn up; demands which the audience would wise to abide by. After all, the theme does not change throughout the selection's duration. But more impressively the energy level is successfully maintained, if not placed into a controlled descent. In spite of forgoing any warm-up toward a full-sprint, thus backing themselves into a corner, sufficient reserves are retained. For all intents and purposes, a common bassline is pieced together. Aggressive four-beat synth melodies not unlike an EDM set fuel the audience. Different vocal styles and subtle syncopation changes assures sufficient variety as well; which is to say there is no over reliance on bangers (although the a certain Mauricio Pastrana track works to great effect).
Needless to say the download is highly recommended
- J.N.
A Noggle Brain Trust, LLP. website
Thursday, July 16, 2015
Dj'ette laya - "Kiz Day in the West"
Leaving a scorched Earth in his path, the creature known as Birdman roams free.
The house that Wayne built, in middle of a Cloverfield, now lies in shambles; subject to the trials of time.
Still, orders for the Hammer Protocol have not been relayed. The saga in question is yet to concluded. Accusations have been levied. Both figuratively and literally, shots have been fired at busses, inside of houses, and across social media platforms. Even members of the bar have been been dragged into the matters of a man once trapped behind Xanax bars. Which is to say that many more details remain must be explained. Entries are pending on each the main actors' rap sheets. Real world plot devices are becoming far less Bloodsimple. What began as a promotion for Barter 6 - not to mention the eventual releases of Sorry for the Wait as well as FWA - is having real world repercussions. Alas, hefty words such as "conspiracy" and "terroristic threats" make for good copy; and enough illegal activity to make even the Coen brothers blush.
These pages, however, shall not bother to keep asking about why
There are a couple things that the author would rather talk about right now, anyway. Principally, a related character from far-north; way beyond Fargo, North Dakota, where the residents speak with even more peculiarity than Minnesota. Self-described as a legend, the God known as Drake has enjoyed a comfortable amount relevance throughout 2015, as well. In addition to the release of If You're Reading This It's Too Late, the Young Money staple has worked a number of high profile shows in the middle of Indio Valley, California. Yet, the post at hand is concerned with the more distant past; primarily a 2014 cut produced by PARTYNEXTDOOR.
While the stream-of-conscious lyrics invite the same psycho-analysis as the rest of the artist's catalog, the slow-tempo, kick/snare-based "Days in the East" merits examination nonetheless. Closed hi-hats play the triplets while chains and open hi-hat syncopate; claps appearing intermittently. But despite the dozen or so elements used, the backing track recalls Nathan Arizona's backyard. The use of just two synths for melody/harmony allow ambiguosity to flourish. Vocal inflection and delivery are given the sufficient amount of space determine their respective outcomes; especially in the latter half, when rhythmic elements are jettisoned in lieu of a single synth and record effect for percussion purposes.
But rather than continue showing his ignorance through comments, the author would rather continue breeding with his false sense of confidence; not unlike the internet has a habit of doing.
Such is the nature of the confirmation bias. At any rate, Tinashe claimed her stake of land on the Great Planes of the worldwide timeline earlier this year with the release of "Amethyst." Similar to Drake, though, a year old recording is of greater relevance; primarily the LA singer's remix/cover of the above-mentioned song titled "Day in the West" With a simply astonishing set of R&B vocals, Tinashe opens a vein on the run. Vibrato is pristine and sparingly used to great effect. The subject matter also concerns fame and the assertion of control over artistic license; but in contrast to the original, more ad-libs are present. A beat length vocal sample on the harmony adds a certain depth to the track as well. On a final production note, an electric guitar is passed over in the finishing stages as finger snaps are brought into the fold instead.
And it is just this culmination that ultimately makes the track below so intriguing. Although a in essence a scene remix a Drake loosie once removed, the beat-maker's train of thought is not at all obscured. This Paris-based producer named Laya is a Dj'ette, after all, not a mere DeeJay; thus, the selection of the number's female version becomes easier to comprehend. But while the kick/hi-hat/snare inarguably establishes a kizomba rhythm, it is the revamped harmony and melody which yields greater riches. The original, airy synth is retained and brought up to speed with the quicker tempo. A second synth is added for bass effect while a higher pitched alternative interplays with the melody. Acoustic guitar resembling semba is heard as well. But hardly is forward motion stifled. MIDI horns and strings expand the already rich tapestry, elaborated by a couple additional synths right up until the end.
Well worth the listen.
- J.N.
A Noggle Brain Trust, LLP. website
The house that Wayne built, in middle of a Cloverfield, now lies in shambles; subject to the trials of time.
Still, orders for the Hammer Protocol have not been relayed. The saga in question is yet to concluded. Accusations have been levied. Both figuratively and literally, shots have been fired at busses, inside of houses, and across social media platforms. Even members of the bar have been been dragged into the matters of a man once trapped behind Xanax bars. Which is to say that many more details remain must be explained. Entries are pending on each the main actors' rap sheets. Real world plot devices are becoming far less Bloodsimple. What began as a promotion for Barter 6 - not to mention the eventual releases of Sorry for the Wait as well as FWA - is having real world repercussions. Alas, hefty words such as "conspiracy" and "terroristic threats" make for good copy; and enough illegal activity to make even the Coen brothers blush.
These pages, however, shall not bother to keep asking about why
There are a couple things that the author would rather talk about right now, anyway. Principally, a related character from far-north; way beyond Fargo, North Dakota, where the residents speak with even more peculiarity than Minnesota. Self-described as a legend, the God known as Drake has enjoyed a comfortable amount relevance throughout 2015, as well. In addition to the release of If You're Reading This It's Too Late, the Young Money staple has worked a number of high profile shows in the middle of Indio Valley, California. Yet, the post at hand is concerned with the more distant past; primarily a 2014 cut produced by PARTYNEXTDOOR.
While the stream-of-conscious lyrics invite the same psycho-analysis as the rest of the artist's catalog, the slow-tempo, kick/snare-based "Days in the East" merits examination nonetheless. Closed hi-hats play the triplets while chains and open hi-hat syncopate; claps appearing intermittently. But despite the dozen or so elements used, the backing track recalls Nathan Arizona's backyard. The use of just two synths for melody/harmony allow ambiguosity to flourish. Vocal inflection and delivery are given the sufficient amount of space determine their respective outcomes; especially in the latter half, when rhythmic elements are jettisoned in lieu of a single synth and record effect for percussion purposes.
But rather than continue showing his ignorance through comments, the author would rather continue breeding with his false sense of confidence; not unlike the internet has a habit of doing.
Such is the nature of the confirmation bias. At any rate, Tinashe claimed her stake of land on the Great Planes of the worldwide timeline earlier this year with the release of "Amethyst." Similar to Drake, though, a year old recording is of greater relevance; primarily the LA singer's remix/cover of the above-mentioned song titled "Day in the West" With a simply astonishing set of R&B vocals, Tinashe opens a vein on the run. Vibrato is pristine and sparingly used to great effect. The subject matter also concerns fame and the assertion of control over artistic license; but in contrast to the original, more ad-libs are present. A beat length vocal sample on the harmony adds a certain depth to the track as well. On a final production note, an electric guitar is passed over in the finishing stages as finger snaps are brought into the fold instead.
And it is just this culmination that ultimately makes the track below so intriguing. Although a in essence a scene remix a Drake loosie once removed, the beat-maker's train of thought is not at all obscured. This Paris-based producer named Laya is a Dj'ette, after all, not a mere DeeJay; thus, the selection of the number's female version becomes easier to comprehend. But while the kick/hi-hat/snare inarguably establishes a kizomba rhythm, it is the revamped harmony and melody which yields greater riches. The original, airy synth is retained and brought up to speed with the quicker tempo. A second synth is added for bass effect while a higher pitched alternative interplays with the melody. Acoustic guitar resembling semba is heard as well. But hardly is forward motion stifled. MIDI horns and strings expand the already rich tapestry, elaborated by a couple additional synths right up until the end.
Well worth the listen.
- J.N.
A Noggle Brain Trust, LLP. website
DJ Set I can't Ado Much About - Dj SaMo - Gouyad Show 2015
Samo is missing in action. But hope is not lost.
Reports have surfaced from Tartown claiming a man with his likeness has been spotted.
In spite of allegations that this individual was seen beat bopping walls on either side of the road, such claims cannot be independently verified by the author. In Basquiat's place, however, is a serviceable replacement. A series of noticeable differences exist should be noted, nonetheless. First, Samo Deejay does not reside in New York. The North American has been bypassed altogether. This member of Haitian diaspora claims residence in Hauts-de-Seine - just about seven miles outside of Paris - instead. Also, it does not appear likely that any relationship between Dj Samo and Madonna exists. And finally, while purely speculative, it would seem likely that this audio purveyor below is also not a street artist.
Fisticuffs with Warhol remain impractical and unnecessary.
Yet, what follows is equally populist. "Gouyad Show 2015" is a very accessible ten minute mini-mix; lack of a tracklist notwithstanding. Predictably made up of instrumental gouyad, a couple vocal compas thrown into the mix for good measure. The slow to mid range tempo kick/hi-hat and kick/snare stir the audience whirlpool of motion. Melodies remains largely the territory of the acidic synths which cover the spectrum from dramatic to inciteful within its role as a trance-setter. Still, the kreyol guitar with deep harmonies and rhythmic assistance - alongside to the occasional conga - merits additional attention. Transitions between songs are smoothly: cymbal effects are used interchangeably with fades.
The download is highly recommended
- J.N.
A Noggle Brain Trust, LLP. website
Subscribe to:
Posts (Atom)