DJ NinOo [Firma do Txiga] - " Poing Poing"

Expect the best while preparing for the worst  and on board aviation safety is but a meager example.

In case of an emergency, pre-recorded video will say, the seat cushions may serve as a flotation device. The follow-up is never mentioned. But most importantly, a combination of filthy fabric and flat foam will serve as a make-shift boogie board.

Of course, the wave in question here is of a much more sedate nature; albeit one that is prone to danger if used improperly

As of late, Txiga has focused their releases in clusters. Surprise file dumps have been the crew's preferred method for sharing new sounds. The present is just another example of such a phenomenon. Over the course of the past week or two, a half dozen new sounds will appear have appeared. All that is left is to ride the wave toward the shoreline.What began with two mini-mixes from Anderson Teixera, the Firma do Txiga boss, has unfolded to include a variety of original compositions and a remix.

Released on Wednesday, what follows is Dj NinOo's contribution to the collection. The song is a mid-tempo, very slim afro house track that could just as well pass off as a demo. Bookended by the head, the body of the song is composed of a single verse and a bridge. Both the tone and slap are used as a djembe establishes the rhythm. The bass is large but plays more of a foundation than an active participant. A clavel and shekere syncopate; the latter serving as the differentiating sound is the middle portion. But "Poing Poing" is just as much a title as it is an onomatopoeia. Just one melodic sounds is heard, and it just so happens to be a synth that goes poing poing.

While good and heavily rhythmic, the download is recommended only to those who so desire it/


Notable Mention: Dj Wayne, Dj NinOo, & Anderson Teixeira [Firma do Txiga] - "Como Ela Grita"

Fortunately, although perhaps contradictory, the second selection is much stronger.

For a moment, the author's notions of monotonous water treading are dispelled

Anderson Teixeira triumphantly returns to these pages; and much like the first appearance, the man has not come alone. Titled "Como Ela Grita," the song below is a tarraxo. The hi-hat/snare is common. Using 8-beat bars is frequently heard. Likewise, the overt sexuality is not unique; although the sound of the cuica is not all that standard. But unlike other duplas or versus concepts, the track does present a new and intriguing notion. No time is wasted as the introductory portion presents the head as each subsequent section is a personal variation.

Wayne is the first beat-maker to jump onto the track. Using two different vocal samples, the beat is syncopated beyond the finger snaps. Another, different piece of percussion attacks the rolling eighth notes. Following a quick reintroduction of the theme, NinOo's section begins. The industrial synth is spaced out. As a result, some breathing room is provided. The track opens up and the bass is able to be better appreciated. Claps are introduced, in addition to a set of male vocals. Puto Anderson is the final producer to appear. NinOo's arrangement is maintained as the claps are replaced with a hollow snare. As with the previous section, vocals help distinguish between styles; and it is Teixeira that introduces the climatic female motif.

Strong effort, and a recommended download.

- J.N.

A Noggle Brain Trust, LLP. website

Deejay WK [WkMusic] - "[12]"

Only the old have fun.

The young - in a blistering blunder befitting bespeckled bipeds - choose only rebel; often times without so much as a cause.

So send a postcard or drop a line. With maturity comes plenty of opportunities to sit back and drink wine. Just try not to get caught working too long, especially during the hours that comes before five and much after nine Instead, enjoy the riches of passing time! Being young is difficult, after all. The world as a whole must be experienced first hand. Heads are far from hardened and each reckless opportunity is nothing more than a lesson, one error removed. All of the world is the teacher. Each member mankind nothing more than a pupil. Even the Buddha said that one who is young "Illumines the world like the moon freed from clouds."

The luxury of knowing better dissipates over time.

Fortunately for reader and author alike, Dj Wk (dub-l-yooh-ka-pa) as not yet reached such a point. The seventeen year old Lisbon beatmaker - not to be confused with the recently featured Dj Jeff/Wonder Music - has a new release. Titled "[12]," the track a slow tempo kizomba with a backloaded beat. Chains and a ride cymbal on accent the 4th beat. But what is initially as kick/djembe begins mimics a theme of change. Slowly the rhythm morphs into a standard hi-hat/snare. Djembe shifts into a supporting triplet role. Still, no single feature immediately sets the song apart. Once the first minute is eclipsed, however, such a statement is irrelevant. An L.A. style, funk synth (similar to StressMuzik) carries the melody. Meanwhile, second, string synth rounds out a plush harmony. The sedate sound of a guitar is brought into the mix as well. A melodica is also heard while the bass enjoys the free-range 16-beat bars.

The Introduction-A-B-A-C-B-bridge-C-Outro is an interesting sequence that favors those whom are patient. Download recommended.

Notable Mention: Frank Leone - "River Beat"

Old age is fascinating as well.

For all the benefits provided by the most golden of years, a certain fixation overcomes a adults of all backgrounds

Commercials are devoted to age rejuvenation. Drugstore aisles have been dedicated to products that do away with the passage of time. But, while a bizarre industry, the concept is not without its own, quaint positivity. After all, Ponce de Leon died from an arrow wound  seeking out the Fountain of Youth.

Alas, the follow-up selection, concerns a different type of Leone. The body of water is, likewise much more mobile. Frank Leone even says so much in the hook with the line "Cause when the water fall, I leap go the puddle of youth / Cause some drop before they end of dead and I never be one to end up like you."

Released earlier today "River Beat" is a reflection/slice-of-life song. From a first person point of view, Leone pleads with listeners, to rely on their instincts. The first line after the flip is, "When fiends come hissin' don't listen, my youth." Companionship is only beneficial if it elevates the overall experience of like. Enunciation is clear and the flow is reminiscent of the lilt alternative Chicago MCs like to employ at the end of a bar. Far from static, however, a double time portion is heard as well as the singing in the hooks.

For whatever it might be worth, the self-produced what churned out in the span of twenty-four hours; no small feat considering the over-all quality. The mastering is resplendent, the bass terrifyingly large. Two different percussion patterns are rotated where rhythm in concerned. What begins as a kick/clap turns into a kick/rimshot in the verse, before returning to the original with the addition of solid snares. Other than a whistle in the chorus reprise, the run, made up of keyboard and piano work from King Supertramp, is equal parts indebted to jazz/R&B and film scoring.

A quite respectable effort just a month after the release of the EnterWILD mixtape; a pair of talents to keep tabs on.

Puto Anderson [Firma do Txiga] - "Hoje - Ela - Dá"

Life is hard.

But politics is much harder.

The complexities of government are overlooked. While dramatic, the American political establishment fails to echoe Scandal or House of Cards. Far removed from The Thick of It, Whitehall and Downing Street are presumably...competent. Modern Denmark is far removed from Viking invasions. Claiming Borgen to be accurate is preposterous. Still, one false calculation can yield disastrous, long-term results. Although far removed from the Borgia theater company, it was Clausewitz that said, "War is merely a continuation of politics by any other means."

But politics move slow. The world of music and entertainment does not.

Yet the song below combines both of these aspects. Titled, "Hoje - Ela - Dá" the song is a mid-tempo, very percussive tarraxo. The beat is maintained by kick/snare and a djembe syncopates Puto Anderson, joined by by the likes of  Dj Wayne, lays out the track in  a versus format. Bookended by the song's head, two sections, each attributed to a beat-maker, is broken up by the interlude. The real attraction, however, is the four different vocals Teixera juggles. Each plays an equitable role in rhythm and melody. For his part, Wayne adds a second piece of percussion and throws in a synth for good measure. While the bass would benefit from a boost, its presence is validate by Wayne's portion.

Good effort and the download is recommended. A morsel of concern, however, is reserved by the author. Txiga's releases are consistently high quality. But the percussive creativity is not unrivaled and redundancy is rapidly becoming worrisome. Alas, time is able to tell how events will unfold in both love and war.

Notable Mentions: WonderMusik - "Track nº 6"

The second selection cannot, in any way, be described as marital or bellicose.

A considerable amount of confusion, however, was afforded to the author in the writing of this portion.

Not unlike a  Middle East battlefield names and allegiances have become blurred. Names and labels are important. Organization is of the essense. But it should be noted that overlap and similarity in names are akin to a border incursion. At any rate,  Edmilson Sousa/Wk Music is not DJ Jeff or Wonder Musik; the latter of the two producers located South of the River Tejo, in Vale de Amoreira, some 23 miles outside of Lisbon.

Coincidentally, the two are aware of each other (if SoundCloud networking is to be trusted), and furthermore create similar sounds. The generically titled "Track nº 6," is but one example. A mid-tempo kizomba instrumental - the kick/snare beat listed as a 90 BPM track - has the format of a pop song; only vocals are missing. But otherwise, the arrangement is extensive and varied. In addition to piano and floating, Nokia ringtone synths, a melodica and strings are used. Despite no significant bass, the crash-bell transitions are an air of change.

- J.N.

A Noggle Brain Trust, LLP. website

Squadda B - "Dream Pleasant" (Prod. by Keyboard Kid)

The act of being awake is criminally overrated.

Which is to say: setting sleep aside until death is nothing more than a fool's errand.

In the event of an unnecessary all nighter, consider the images that will never been seen. Films debuting to empty theaters. Thanks to insomnia the moon may never be sliced open by an endless array of clouds. After all, the active mind may be the best part of heads laying down to rest. Beds are comfortable. A resurgence of energy is ever-welcome. But, still, it was the Spanish filmmaker Luis Buñuel that said, “Give me two hours a day of activity, and I'll take the other 22 in dreams."

Not so much a debaser, Squadda B appears to share just such a sentiment. Why, however, should dreaming be relegated strictly to the realm of sleep? Such is the question asked on "Dream Pleasant," released earlier today. If dreams are a nice space - a time and place where anything and everything is possible - those privileges should extend to real life. If for no other reason, then, the state of Bambino's life in 2015 blurs the line dividing what it means to be awake as opposed to asleep; "Everytime I gotta sleep / This is where I gotta be." Depending on the drums, the Green Ova switches between two flows: a based bounce and the floating Main Attrakionz couplets; a switch best heard on the line, ""So much happened, a long, long dream / All of a sudden everything's exactly how it seems, chillin / Open up your eyes and don't conceal 'em, the feeling."

All the while, production is handled by Seattle's Keyboard Kid. As might be expected, the run does not deviate too far from the cloud-rap aesthete. The run is made up of two ambient synths as an amorphous, foggy set of vocals creates the appropriate atmosphere. Rhythmically, though, the beat snug is as an heirloom quilt. Two different drums patterns are heard.  A general theme, however, can be deduced to a 'melatonin comfort.' The first incantation is a kick/open hi-hat/clap followed by a closed hi-hat/snap; claps are further used for a double time portion.

Squadda B, alongside, Mondre M.A.N., is considered a LFK...lo-fi king. With any luck, the loosie is a teaser for project soon to come.




Notable Mention: Soul Jazz - "Agora é Pra Valer" (Prod. by Dj Ary)

In contrast, the second selections sounds, at first, as though it could have only been put together in a dream.

The name Soul Jazz is an intriguing name on its own. A vocalist of the kizomba variety, only a handful of tracks are credited to the artist in question. By and large, though, the man appears to favor the ghetto zouk end of the spectrum. But problematically, each of the release features a new producer. Results are often spotty. The singer's performance is correlated to the quality of the beat.

Which is largely what sets the song below apart from the field; but more on the singing in a moment.

The production is entrusted Dj Ary and, as a result, the track ventures into rough waters Rather than commit to a straight hip-hop/trap beat or a straight kizomba beat, the producer combines the most identifiable of both elements. Most evident is the run. Relying heavily on a trembling theremin, an organ and a squeaky high-pitched synth harmonize. Meanwhile, the drums remain close to the zouk shore with a kick/hi-hat/snare combination. Digital snares, it appears, is charged with syncopating. Some strings and a tom are used for transitions; inadvertently bringing the song's simultaneous strength and weakness. The bass is outrageously boosted. On top of that, horns, guitar, piano, and chimes are heard as well. What results is a bizarre overlap of elements elbowing each other for space.

Even more bizarre is that this mess on the surface is really quite captivating. Escaping relatively unscathed, the trip was inadvisable at best.

Vocals are coated in auto-tune. Delivery is primarily singing; particularly of an R&B variety. Nonetheless, Soul Jazz makes passing attempts at a new Atlanta flow. Not nearly as clumsy as the accompanying music, the vocalist puts in more work with consistent adlibs that mostly accent a line; but with the lengthy array of sounds will occasionally pass off as just another instrument. And not to be overlooked is the bridge, in which the performance takes a turn towards Gregorian chanting.

After about five listens the author is unable to make a good-faith judgement about the song at hand. Be that as it may, it is nice if not tart at times. Hesitantly, then, the download will be recommended.

(h/t Mais Kizomba)

- J.N.

A Noggle Brain Trust, LLP. website

Deejay Kidd - "Magalenha"

Brazil is washed.

The party has ended for Orpheus; carnival lights have gone black.

A common refrain at the cusp of the 2010s was that Latin America's sleeping giant was about to break out of hibernation. The policies of the Cardoso regime would finally pay off. High oil prices did not register poorly with Petrobras. Surely it would be springtime for Lula and Brazilians! But such seems to be the case decade after decade. Whether the article was filed in the 2000s, 1990s, 1980s, or even earlier the conclusion is always the same: sound the alarm.

All it took was a series of World Cup routings for the world become aware of the order and progress shenanigans.

But the present selection is not so much concerned with politics as it is with music from the Western Hemisphere's only Portuguese speaking country. Any party only stands to benefit from tropicalia and semba selections. For quiet listening, bossa nova and protest songs accomplish such an end. An option even exists for modern bass aficionados in the form of baile funk and rasteirinha. Brazil has range. The song below - titled "Magalenha" - proceeds directly to the traditional instead

Released yesterday, the track is built around the hook of a Sergio Mendes song by the same name. Immediately noticeable is that Deejay Kidd -  and independent footwork producer, not to be confused with KiiD'FoOx the batida producer - has speed up the source material. A typical, quick kick/snare beat is added as a cymbal from the original is retained for flare. Perhaps the introduction is too long. Maybe the verse is looped one too many times. All in all, though, the track is more structured more or less like a pop song: Introduction-Chorus-Verse-C-V-interlude-V-interlude-bridge-V-C. Aside from the obvious difference of singing and mere syllables on the interchanging sections, a synth is added in the chorus as well as what sounds like a distant second cymbal. Back-up singers appear in the interlude and a third taste of Mendes singing is put forth in the bridge.


Were a schism to happen to the juke scene - a line drawn between home-listening and dance-floor oriented beats - the author be unable to pick a side. But the allure of competitive sample digging for the latter camp may have only limited potential. Regardless, both k10ck3's Roy Ayers mix and the present selection give a glimpse of what may follow. Strong effort overall.



Notable Mention: Dj Rafa fox [Nova Escola Produções]

In contrast, the second feature is, at least somewhat, rooted in politics.

The author was unaware of DJ Rafa Fox a few days ago; but for good reason. Consider that the beat-maker only started his SoundCloud account seven days ago. While an earlier, affiliated account is not difficult to find - and full of mixes than vary in style, from afro-house and kizomba to funana, and length from ten minutes to twenty plus) - but the niche aspect is undeniable. With only twenty-one followers, Raafael Varela's page is difficult to simply stumble upon.

Yet, beginning just a few days ago, the name began sporadically coming up. With a penchant for traditional elements, especially guitar, the producer's musical profile merits attention. Only four songs have been released but tarraxo, batuco, and afro-house have already been touched upon. Bass is typically well mixed and a further affinity for vocal samples is heard. More importantly, however, all of Rafa Fox's beats swing hard batem bem.

Yet the above description is painfully general. Any handful of artists featured on these pages can be described in much the same manner; albeit with a more extensive body of work. Does anything set Nova Escola Produções apart from the crowd?

Geographically, Varela's home seems to be significant. Cova da Moura is among the oldest immigrant communities in the Lisbon area. That last bit, though, is rather misleading. After all, the town with population of about 7,000 is some 35 miles outside of the capital city. Access by public transportation or otherwise is difficult. In a painful oversimplification, the result is a large Cabo Verdean enclave. Alongside members of former Portuguese colonies at large the community has developed in relative isolation while preserving culture.

What follows, however, is concerned only with the present. One of two songs released today, "Ferro na Corpa" is the only solo effort. But Rafa Fox has set the bar high with this mid-tempo batida. Rather than show homage with a "dedicado a" or a similar fixture, the beat-maker has simply stated "Tip very interesting tag "Tipo Firmeza." Attitude aside, the track is strong. A kick/tom combination is used for the main beat. Two different shakers viciously groove as a djembe plays, nearly inconspicuously. Bifurcated by interlude,the song's second section feature a more present, bouncing bass. The melody, meanwhile, is carried by a stringed instrument with a higher register than an oud but lower than sanshin or shamisen. Despite an inability to identify it the author insists sounds are reminiscent of Asian culture.

With any luck, the "Ferro na corpo" is but one of many future endeavors.

- J.N.

A Noggle Brain Trust, LLP. website

Monday Morsels (13 April 2015)

Rounding up the best of the week-end in one convenient post

No action is inevitable.

Life only appears to be random.

And a like the tip of a massive, mechanical tattoo gun, some clock arms inscribe the crime of living into humanity's back as a whole. The watchmaker cannot be outwitted. Carefully crafted machinery cannot be chaotically torn apart. Escape, it seems, is impossible.

Inevitably we, though, return to the start.

Homer will forever forget that April 15th is tax day come death or come reruns. Current events are presented on a news cycle with reason: Ready or not, here comes Hillary! Faces may change. The venue could appear to be different. But in the presence of youth and camera's - given the perfect storm of live performance and publicity - Madonna will always intend to impress; her non-copyright infringing imitation of Nosferatu now well known. Some trends, of course, are not as well rooted. Far from relevant in the 1990's, Tyler, the Creator deserves a mention nonetheless. Following the surprise roll-outs of To Pimp a Butterfly as well as I Don't Like Shit, I Don't Go Outside on Sunday nights in March, the Odd Future stalwart followed suit.

Any attempt to foreshadow need only to look in the past. Squinting to see further ahead is not necessarily advisable, although certainly a viable possibility. It is the present can, however, that can be immediately affect the individual as well as be affected by the individual.

But predictable as the world might be, which pre-fabricated existence is developed is still a matter of choice
                                                                                                                                                                   

Excessive ranting and raving now sufficed, onwards to this week's selections..

Technically, "Akounamatata," did not have a weekend premier. Then again, the song - inspired by the Edyl0x song featured on these pages last week - does not quite fall under the 'typical' umbrella.

Disney fans should note, though, that the Simba references are limited to the title. Such is the circle of life. But hopefully no potential listeners are dissuaded. What follows is a treat. The snare beat is reminiscent of zouk but much quicker. Meanwhile, hi-hat carries a heavy, reggae groove. Bass is thicker than the crowd descending upon Indio Valley three days at a time year,. Vocals are English language and combine the the dancehall delivery with soca singing. Sted Killa - representing Guadeloupe's Yellow Gaza Production - keeps the energy high, in part due to the variety of ad-libs from horse sounds to yelping.

Enjoyable for the entire four minute duration.




Coincidentally, the reference embedded in the title has a decidedly limited relevance to the second number as well.

Which is not the say that Elvis Crespo is entirely absent. The late 90s salsa hook is very clearly sampled during the first part of the two-tiered introduction; after which, LyCoOx breaks out the synth collecton. Similar to past tracks, Dance Mamba uses an afro-house, snare rhythm as springboard. The tempo is mid-tempo to quick as hi-hat and djembe swing. LyCoOx staples such as the descending bass and drum effect can be heard; although it is the latter that is both the song's saving grace and defect.  Decidedly heavy, the bass is given, perhaps, too much of a share. As a result both the drums and the vocals sound as if to be drowned out or competing for space.


Hillary Clinton's presidential announcement was far from surprising.
Not even the evening news feigned the the least bit of jubilation

An warm of continuity was provided but he comfort blanket of a familiar face in a turbulent political climate. Comfort is of the essence In much the same spirit, the author turns to a time-honored tradition on these pages of revisiting remixes; at times to an unhealthy degree. But the track below falls short of the all-time record. With his contribution, Dj BeBeDeRa marks only the fourth total mention of Maruo Pastrana's "Má Vida." Similar to Dj News, the version below merely includes the vocal hooks as a musical element to an otherwise established beat resulting in a percussive recreation. The mid-tempo kick/hi-hat afro-house beat is accompanied by a descending bass with additional percussion syncopating. Xylophone assist to the latter goal as well. Melody is carried by a four-beat beat flute. But it is the listless plucking of an acoustic guitar that headlines the two-minute hippie jam-fest; the strumming of two-chords passing off as the instrumental portion on the second verse.

Strong effort overall and worth the download.



And now for something completely different...

...a man with an internet connection, up his nose.

More of figurative image than a literal one, the final selection is, nonetheless, a throwback to the heyday of cloud rap. The featured artist is Akumasanti who, despite having a structured and delineated beat delineated blows through the both choruses. A reprise is only afforded at the end. Still king of the people, Kuma walks the audience through a day in the life of a space hustler. In the aesthetic of an chan board, references are seamlessly made to cleaning bodily fluids as well as katanas and Zelda. The flow is reminiscent of old Houston rappers and enunciation is clear as the distorted vocals is the force active listening. But, perhaps underappreciated, is Akumasanti's ability to transition from shorter to longer prosody with ease.   slice of life track.

The beat is a collaborative effort between two more cyber natives, Roc12 and Snugsworth. With two synths the run is established. Windchimes provide support and a stringed Asian instrument in appear the second Sax provides support in the chorus. A third synth is heard in the chorus as well. Anime sample are, of course, as the kick/clap - snare used only at the end - make up the beat. The carefully crafted fluttering of the hi-hat triplets, however, might be the most intriguing element.

Not seeking to convert any of the uninitiated, the song should nonetheless cater to already established fans of the sound.


- J.N.

A Noggle Brain Trust, LLP. website

PT Music [SBM Records] - "Talento nunca faltou"

Never renege on a promise.

Follow through on any guarantee that has been made.

Lastly, if at all possible, follow through on payments with - wait for it - straight cash...homies. Of course, such a shrewd financial strategy was not borne in the author's mind. Only a guaranteed gentleman with the gift of gab can even consider uttering such a phrase. Most surprising, however, is the apparent effortlessness; the nonchalance with which urban philosopher/wide receiver extraordinaire Randy Moss carried himself throughout the National Football League. Whether making catches or making a strong case for a return to the lunar calendar, the current Fox Sports 1 anchor accomplished it all, seemingly, with a breezy easiness.

And, always a magnet for controversy, an over-reliance on talent has earned the man some ire as well.

A similar claim, albeit reflexive, is made on the zouk beat below. Titled, "Talento nunca faltou" ("Talent was never missing") the song was released yesterday. The track is a Power-I offense but far from ineffective. Although a track of this nature might typically explore more melodic facets the artist formerly known as Puto Tito opts for an exotic formation. Despite the occasional appearance of a second, harmonic synth, a spread 8-beat synth carries the song through its Introduction-A-interlude-B route. In this sense, "Talento nunca faltou" is much more of a demo, or work in progress. Consider, however, the beat and its underlying glory. The zouk rhythm is established by kick/snare and a djembe flutter hitches on the 8th beats; bass spying all the while. But once the second section begins the song changes identity. With a minor audible PT Musik shifts into tarraxo mode. The kick-drums takes a funky turn and the djembe hitch changes places. It seems that snare is replaced with woodblock and hi-hat bleeds through.

If at all a boast, the claims are more than back-up. Most impactful, though, might be a wave of combining similar yet distinct beats.


Notable Mention: Stress Musik - "Re Back"

In the interest of balance, the second selection takes an opposite and extreme approach.

Rather than experiment StressmMusik strictly follows the playbook. The man's execution, however, is flawless. Released yesterday, the song below is titled "Re-back." A lush string arrangement provides the foundational harmony. The melody is designated to a single, high-pitched synth riff. Like the first snowflakes on a fresh winter, xylophone dots the landscape too. While only nine elements are heard, the song appears much busier. Sounds simply switch subtly. Initially, hi-ht/wood-block make-up the ozuk rhythm - followed by a kick/hi-hat-crash in the chorus. Djembe syncopates all the while. But more than any other sound, the bass is intrinsic. Without the subwoofer frequencies, the track might not hold. Equal parts harmony and rhythm, the bass on "Re-back" is the unifying force.

Exquisite. Excellent. Really just...incredible.


- J.N.

A Noggle Brain Trust, LLP. website