Violence aside, religion can be quite funny.
Each faith brings with it a unique set of perspective and peculiarities.
Institutions, on the other hand, carry entirely different, often designer made, set of leather luggage. But dispel any notions of mockery. The observation is made with an admirative more so than a critical one. Consider that respect must be gained through dutiful effort. With time comes clout; and, conversely, with clout comes the comfort to create a personal set of rules. Go on act irrationally! Dietary restrictions, fastings, and pilgrims are all alike in that these decrees affect the followers. It is the rote, administrative tendencies, however, in which these gargantuas thrive. Wear the red-tape like victorious sash!
And, of course, no words serve as a better example than the Catholic church's latin phrase, "Promoveatur ut amoveatur (Promote to remove)"
Yet the following promotion is not to be viewed as anything so negative. Rather, this is merely the first opportunity the author has encountered in 2015 that allows for Djeff Afrozila to be featured as a main selection. After all, the song at hand - titled "Ser Kazukuta (Main Mix)" - is a full length track, rather than a snippet, that will become part of the Team de Sonho, Vol.2 project. Released yesterday, what follows is a quick-tempo, vocal afro-house. While one MC delivers toasted, kuduro lyrics, the other sings in a vaguely semba fashion; point that "Ser Kazukuta (Main Mix)" is a busy song. Three different vocal loops are interacting at one point and upwards of ten sounds are hear. Most of the numbers, however, come from a percussive vantage point. What begins as a djembe/bell rhythm comes to include the pounding of kick/snare. A single, four beat synth carries the melody as a brass section comes in and out. Bass comes from a second synth and bucks the notion of a single-form bassline.
High quality afro-house, the download must be recommended before the limit is reached.
Notable Mention: J-Von - "Slow Wine [Prod. Dj Paparazzi]"
Although concerned with the concept of wine, the second selection was not converted to water.
Released earlier today "Slow Wine" is a mid-tempo zouk/kizomba song. The synth-heavy track - three are heard - is built around a kick/hi-hat rhythm. Djembe and woodblocks syncopate alongside a vocal sample. Claps are brought for achieving the same purpose during the second verse. Which is to say that the Dj Paparazzi is never at a lack for sounds. Piano appears as well during the chorus portion of the track.
Bass is, for the most part, pushed aside. A single pluck is heard on the first note of each new bar. Alas, the subwoofer friendly frequencies are not the most surprising portion of the number. The vocals, after all, are sung in English; and additionally, are given a some antillean/dancehall inflection. Passing echo-chamber, dub effects are provided as well. It might as well be noted that the structure is slightly unordinary too: Intro-PreVerse-Verse1-Chorus-Verse2-Chorus-interlude-Verse1-bridge-Chorus.
Perhaps the beat is superior to the song as a whole, but an enjoyable listen over all.
- J.N.
A Noggle Brain Trust, LLP. website
Friday, April 24, 2015
Thursday, April 23, 2015
Nunex [A.N Produções] - "Parabens Famifox (Latino)"
Friendship is the most accomplishment mankind is capable of persuing.
Keeping good company is essential.
Anything is suddenly possible with a little help from some friends. Preposterous as it ay seem, such a premise even allowed for Ringo to sing.Conversely, neither Mr. Starkey nor his Migos would have been quite as creative without meeting Bob Dylan in San Francisco. Tainy-day women #12 & 35 were kind to them all. Alas, socialization is crucial. Which is to say that thinking and theory can only accomplish so much, Interaction is essential to existence. Even the Dhammapada reads "If for company you find a wise and prudent friend who leads a good life [...] keep his joy pridefully and mindfully."
Very good song, nothing more to it. The download is essential; a strong recommendation simply does not feel forceful enough.
Notable Mention: Dj Clent - "Gone off Acid"
Similarly, the second selection is a testament to the power of association.
While credited to Dj Clent, it should be noted that the song below comes via the Beatdown House record label.
Titled, "Gone off Acid," what follows is, in the strictest of terms a footwork/juke song. Yet the specifics are much more interesting. While the concept begins on the dancefloor , the results arrive a bike ride away. Similar to an Acey track featured on these pages last month, the song is much kinder to a listening audience. Development is slowly achieved. The synth heavy track, perhaps on a contradictory note, develops slowly. Two synths, bass and snare are heard first; only to be replaced by three or four cymbals are under one effect or another as a click is heard on quarter note, later replaced by claps. Bass sneaks in through the odd notes until toms provide some direction, playing a part in the hok, at which point it speeds up. Cymbals are retained. A collection of new synths are added as the difference in speeds and rhythms from the different elements begin to play into each other.
A good exercise in contrasts, download is recommended.
- J.N.
A Noggle Brain Trust, LLP. website
Keeping good company is essential.
Anything is suddenly possible with a little help from some friends. Preposterous as it ay seem, such a premise even allowed for Ringo to sing.Conversely, neither Mr. Starkey nor his Migos would have been quite as creative without meeting Bob Dylan in San Francisco. Tainy-day women #12 & 35 were kind to them all. Alas, socialization is crucial. Which is to say that thinking and theory can only accomplish so much, Interaction is essential to existence. Even the Dhammapada reads "If for company you find a wise and prudent friend who leads a good life [...] keep his joy pridefully and mindfully."
Which, of course, defeats the alternative of existing as a "A lone elephant in the elephant forest"
Such a fate, though, has not been chosen by the artist features first. Although a solo track - Nunex only making up half of Alto Nivel - the comment section fills in the gaps. What follows is a sort of dedication to Famifox. Titled as such, "Parabens Famifox (Latino)" the song is a mid tempo afro-house that represents the A.N sound well. A diverse of instruments are heard as the modern is melded together with the traditional.
Be that as it may, one key difference is hear. Rather than elaborate the melody, Nunex shifts his focus. Polyrhythms are dense. No single rhythmic skeleton outlines the track; resulting, instead, in a collection of independent percussion loops coming together in ravishing harmony. What begins as a melodica, scraper, and bass quicks expands. The audience is incrementally exposed to an embarassment richness regarding both competence and sound. Cowbell, woodblocks, djembe all syncopate. A rattle, claps, and some metal sticks are heard as well. Guitar assists in the run. Neither melodic instrument has very long phrasing, choosing to vary frequently instead. All the while, though, bass is thick as thieves and the song's centerpiece; essentially acting as the adhesive that keeps the number together. With three or four different forms and also shifts from an open groove to a tighter walking variant.
Be that as it may, one key difference is hear. Rather than elaborate the melody, Nunex shifts his focus. Polyrhythms are dense. No single rhythmic skeleton outlines the track; resulting, instead, in a collection of independent percussion loops coming together in ravishing harmony. What begins as a melodica, scraper, and bass quicks expands. The audience is incrementally exposed to an embarassment richness regarding both competence and sound. Cowbell, woodblocks, djembe all syncopate. A rattle, claps, and some metal sticks are heard as well. Guitar assists in the run. Neither melodic instrument has very long phrasing, choosing to vary frequently instead. All the while, though, bass is thick as thieves and the song's centerpiece; essentially acting as the adhesive that keeps the number together. With three or four different forms and also shifts from an open groove to a tighter walking variant.
Notable Mention: Dj Clent - "Gone off Acid"
Similarly, the second selection is a testament to the power of association.
While credited to Dj Clent, it should be noted that the song below comes via the Beatdown House record label.
Titled, "Gone off Acid," what follows is, in the strictest of terms a footwork/juke song. Yet the specifics are much more interesting. While the concept begins on the dancefloor , the results arrive a bike ride away. Similar to an Acey track featured on these pages last month, the song is much kinder to a listening audience. Development is slowly achieved. The synth heavy track, perhaps on a contradictory note, develops slowly. Two synths, bass and snare are heard first; only to be replaced by three or four cymbals are under one effect or another as a click is heard on quarter note, later replaced by claps. Bass sneaks in through the odd notes until toms provide some direction, playing a part in the hok, at which point it speeds up. Cymbals are retained. A collection of new synths are added as the difference in speeds and rhythms from the different elements begin to play into each other.
A good exercise in contrasts, download is recommended.
- J.N.
A Noggle Brain Trust, LLP. website
Ñaka Ñaka - "¿¿"
The scientific profession is a dangerous.
Absolutely no safety can be guaranteed.
Like most rebels, Galileo moonlighted as a scofflaw. Facts are unchanging, but conventional wisdom is slow to come evolve. If for no other reason, Darwin has found his set of detractors as well. For whatever reason new ideas are difficult to comprehend and much more difficult to accept.
There is, however, one scientist that proves to be an exception to the very unpredictable norm.
Death rays make for great television, after all. But weaponry to the discussion at hand. After all, it was Archimedes that realized that an object's contents matter the most. Like a king's gold crown, the song below is pure. Titled, "¿¿" the track was released earlier today by Mexico's Ñaka Ñaka (covered for the first time on these pages quite some time ago). The cosmic sounds - alternatively, music with harmony - are typically ambient. Images are conjured of a gutted house with only a facade left behind. Only three or four different sounds are heard in the most literal of senses. Not unlike a rapper's flow the use of three to four sounds can be taken as cold. Two synths are accounted for: one for melody and one for bass. Each plays a role in determining the rhythm. Harmony is essentially provided by a steady, mechanical whirring that never ceases.
Something of an engineering marvel yet the results are very good.
Notable Mention: Jweltingthreal - "connection (demo 1) [prob by Peter Williams]"
The second selection appears only in the interest of inquiry
Which is to say that the origins of the track at hand are largely unknown.
A possibility does arise, though, in viewing the artist's SoundCloud page. The reposting Frank Leone's mixtape pushes the author's memory toward a hazy, but otherwise nondescript, spring evening. Still, few specifics can be provided. But while perusing a list of collected song links earlier, this number in particular stood out.
At any rate, Jweltingthreal is apparently based out of Phoenix, Arizona. The music is typically mandolin and guitar (or fiddle) with the results one would expect from a bedroom chemistry lab; not to mention the chicken-coop maestro personality to match. Folk - and at times folk punk - sensibilities are in full. New age credentials are provided as well. A good command of layered melodies is heard. Alas, the biography that reads, in part, "Elf-Cave troll hybrid" results in many more questions than answers.
Similarly, an origin is difficult to decipher. The oldest track shows a two year old date of creation. But the sounds which appear after the jump first appeared just about a month ago. Tilted, "Meditation on Fractal #4 demo" the song is concise but characteristic. Acoustic guitar and strings carry the harmony. Meanwhile, mandolin and electric guitar lay out a melody amidst a very purposeful bass. A 'prog-rock' sense of pedal and loop testing is evident; the result vaguely like Meddle.
While likely to result in nothing of note, the overall impression of youthful incorrigibility combined with the desire for a unique identity is a wonderful mixture most of the time, and the present is no exception.
- J.N.
A Noggle Brain Trust, LLP. website
Absolutely no safety can be guaranteed.
Like most rebels, Galileo moonlighted as a scofflaw. Facts are unchanging, but conventional wisdom is slow to come evolve. If for no other reason, Darwin has found his set of detractors as well. For whatever reason new ideas are difficult to comprehend and much more difficult to accept.
There is, however, one scientist that proves to be an exception to the very unpredictable norm.
Death rays make for great television, after all. But weaponry to the discussion at hand. After all, it was Archimedes that realized that an object's contents matter the most. Like a king's gold crown, the song below is pure. Titled, "¿¿" the track was released earlier today by Mexico's Ñaka Ñaka (covered for the first time on these pages quite some time ago). The cosmic sounds - alternatively, music with harmony - are typically ambient. Images are conjured of a gutted house with only a facade left behind. Only three or four different sounds are heard in the most literal of senses. Not unlike a rapper's flow the use of three to four sounds can be taken as cold. Two synths are accounted for: one for melody and one for bass. Each plays a role in determining the rhythm. Harmony is essentially provided by a steady, mechanical whirring that never ceases.
Something of an engineering marvel yet the results are very good.
Notable Mention: Jweltingthreal - "connection (demo 1) [prob by Peter Williams]"
The second selection appears only in the interest of inquiry
Which is to say that the origins of the track at hand are largely unknown.
A possibility does arise, though, in viewing the artist's SoundCloud page. The reposting Frank Leone's mixtape pushes the author's memory toward a hazy, but otherwise nondescript, spring evening. Still, few specifics can be provided. But while perusing a list of collected song links earlier, this number in particular stood out.
At any rate, Jweltingthreal is apparently based out of Phoenix, Arizona. The music is typically mandolin and guitar (or fiddle) with the results one would expect from a bedroom chemistry lab; not to mention the chicken-coop maestro personality to match. Folk - and at times folk punk - sensibilities are in full. New age credentials are provided as well. A good command of layered melodies is heard. Alas, the biography that reads, in part, "Elf-Cave troll hybrid" results in many more questions than answers.
Similarly, an origin is difficult to decipher. The oldest track shows a two year old date of creation. But the sounds which appear after the jump first appeared just about a month ago. Tilted, "Meditation on Fractal #4 demo" the song is concise but characteristic. Acoustic guitar and strings carry the harmony. Meanwhile, mandolin and electric guitar lay out a melody amidst a very purposeful bass. A 'prog-rock' sense of pedal and loop testing is evident; the result vaguely like Meddle.
While likely to result in nothing of note, the overall impression of youthful incorrigibility combined with the desire for a unique identity is a wonderful mixture most of the time, and the present is no exception.
- J.N.
A Noggle Brain Trust, LLP. website
Wednesday, April 22, 2015
SenexBeatzZ - "So Craizy"
Excitement is the most basic human emotion.
There is a, however, a strong argument which be made for fear
But why dwell of the negative? Joy is traditionally ambiguous. Accosted with at all the expectations of society, happiness becomes the ever elusive enigma of modern man. Pleasure is a problematic piece of the overall emotional puzzle. Likewise, anxiety is largely subjective. What might make one person tremble with nervous energy might not phase a benzo fiend. Anticipation, on the other hand, is universally relatable. Circumstances vary. Winged creatures fly across the digestive system as a celebratory dance is prepared.
Short of demolishing the concept of disco, any reaction is acceptable.
If for no other reason, then, SenexBeatzZ is able to consistently accomplish such a fear. Independent of Comiskey Park, each box on the excitement checklist is dutifully marked. The impressive back catalog is present. A potential for growth cannot be denied. But, and perhaps most importantly, the producer thrives on the scarcity of his work is only the second or third of the year; a recent bleaching of his SoundCloud page notwithstanding.
Best of all, each new sound is consistently on par, if not superior, to previous sound. Granted, such a claim is difficult to support. Looking forward is the only possibility given the current state of SenexBeatzZ's. Such an inevitability is made much easier by the appearance of "So Craizy," fortunately enough. Released today, the track is a strong ghetto zouk. Contrary to the norm, however, the beat is built off a cowbell. Meanwhile, the kick drum is relegated to syncopation duties alongside the shaker. Rides mark transitions. The bass is smooth; back loaded on quarter beats, it is nonetheless dynamic for all sixteen bars. Just one other sound is heard throughout in the form of a harmonic synth. Two other synths are heard, and both of which are melodic; one appearing on the chorus and the other in the bridge.
A legitimate cause for excitement if nothing else.
Notable Mention: Dj Ludy feat. Dj BeBeDera - "Naa Ravee"
The second is exciting for a different set of reasons entirely.
Dj BeBeDeRa is, after all, makes fairly regular appearances on these pages.
A style - musical identity, as it were - is easy to discern. The man's production chops are familiar as listeners form expectations for what is to be heard. Which is not to say "Naa Ravee," or any other track affiliated with BeBeDeRa. On the contrary, the beat-maker is not only willing to collaborate, but happens to do so with fresh faces; of which the track below is one example.
A slow tarraxo, "Naa Ravee" is a heavy percussion song. Aside from the hi-hat/kick rhythm, three other drums are heard. Most notable is a front loaded bass drums. Two different drums carry the bulk of the lackadaisical melody until a whistling synth begins running its course halfway through. Djembe syncopates is usually the case. But the song is divided according to Dj duties; and once LuDy suffices BeBeDeRa jumps onto the deck resulting in a quicker pace. The number takes on a more batida feel. One of the previous melodic drums switching to playing triplets as a rattle and new synth are heard.
Heavy and opportune for pelvis grinding, the download is available.
- J.N.
A Noggle Brain Trust, LLP. website
There is a, however, a strong argument which be made for fear
But why dwell of the negative? Joy is traditionally ambiguous. Accosted with at all the expectations of society, happiness becomes the ever elusive enigma of modern man. Pleasure is a problematic piece of the overall emotional puzzle. Likewise, anxiety is largely subjective. What might make one person tremble with nervous energy might not phase a benzo fiend. Anticipation, on the other hand, is universally relatable. Circumstances vary. Winged creatures fly across the digestive system as a celebratory dance is prepared.
Short of demolishing the concept of disco, any reaction is acceptable.
If for no other reason, then, SenexBeatzZ is able to consistently accomplish such a fear. Independent of Comiskey Park, each box on the excitement checklist is dutifully marked. The impressive back catalog is present. A potential for growth cannot be denied. But, and perhaps most importantly, the producer thrives on the scarcity of his work is only the second or third of the year; a recent bleaching of his SoundCloud page notwithstanding.
Best of all, each new sound is consistently on par, if not superior, to previous sound. Granted, such a claim is difficult to support. Looking forward is the only possibility given the current state of SenexBeatzZ's. Such an inevitability is made much easier by the appearance of "So Craizy," fortunately enough. Released today, the track is a strong ghetto zouk. Contrary to the norm, however, the beat is built off a cowbell. Meanwhile, the kick drum is relegated to syncopation duties alongside the shaker. Rides mark transitions. The bass is smooth; back loaded on quarter beats, it is nonetheless dynamic for all sixteen bars. Just one other sound is heard throughout in the form of a harmonic synth. Two other synths are heard, and both of which are melodic; one appearing on the chorus and the other in the bridge.
A legitimate cause for excitement if nothing else.
Notable Mention: Dj Ludy feat. Dj BeBeDera - "Naa Ravee"
The second is exciting for a different set of reasons entirely.
Dj BeBeDeRa is, after all, makes fairly regular appearances on these pages.
A style - musical identity, as it were - is easy to discern. The man's production chops are familiar as listeners form expectations for what is to be heard. Which is not to say "Naa Ravee," or any other track affiliated with BeBeDeRa. On the contrary, the beat-maker is not only willing to collaborate, but happens to do so with fresh faces; of which the track below is one example.
A slow tarraxo, "Naa Ravee" is a heavy percussion song. Aside from the hi-hat/kick rhythm, three other drums are heard. Most notable is a front loaded bass drums. Two different drums carry the bulk of the lackadaisical melody until a whistling synth begins running its course halfway through. Djembe syncopates is usually the case. But the song is divided according to Dj duties; and once LuDy suffices BeBeDeRa jumps onto the deck resulting in a quicker pace. The number takes on a more batida feel. One of the previous melodic drums switching to playing triplets as a rattle and new synth are heard.
Heavy and opportune for pelvis grinding, the download is available.
- J.N.
A Noggle Brain Trust, LLP. website
Tuesday, April 21, 2015
Dj LiloCox [CDM] & Dj Ediifox [CDM] - "Acredita"
No ending can ever be denied.
There is nothing more inevitable than a conclusion itself.
If for no other reason, perfect exits are thus worthy of near-mythic status. Despite a 1990's renaissance, "leaving on high-note" pioneers such as George Costanza have been sidelined by history. Findings languish away in the face of contemporary research. Meanwhile, the field trudges on; a fraction of the attention it once received showered upon it. Acting on good advice may just be equally as difficult as requesting it in the first place. Subsequent results have been suboptimal, to say the least. Look no further than high profile retirements for proof. The case-by-case variety is astonishing. It seems no flawless manner; the ultimate escape now impossible. Harry Styles caused a near panic global while Don Francisco undoubtedly deserves a much more gigantic farewell.
But the present selection is more concerned with returning to the workplace rather than walking away.
Specifically, the author is referring to Ediifox (EdyFoOx): the oft forgotten third member of Casa da Mãe, a.k.a. Luso-Favre. The beat-maker's exploits have been covered before, so urther elaboration is unnecessary. For the uninitiated, though, a glossing over only seems polite. After all, EdyfoOx is a very capable producer; name recognition (save for some similar DJ monikers that arisen as of late) and multiple retirements withstanding. It is the latter half, though, that makes the most relevant impact. Despite claiming an end to his music career on more than one occasion, Ediifox has periodically made new and fascinating appearances.
Yet what makes the selection below exciting is two-fold. First, the song titled "Acredita" is not a one-off beat. In addition album-length feature, though a collaboration with fellow CDM beat-maker LiloCox is heard; a first since the original retirement. Of course, the possibility for anachronism is high. What is presented as a new could be a re-release. Notwithstanding, "Acredita" is a mid-tempo afro-house. Not unlike the hi-hat/sanre rhythm, the structure is relatable: two-individual verses in addition to the theme and a collaborative portion. A marimba. alongside acoustic guitar, is the song's melodic centerpiece as sheets of synth rain down the harmony. As a whole, the track is fairly minimal. Bass grooves on the even beats while a maraca and second piece of percussion swing.
Chronology aside, the download is recommended. Even if the song is not patently new, each element of what makes CDM great is on display: melodic/percussive originality, use of structure as a tool, and clean mastering among a long list of strengths.
Notable Mention: Jumping Back Slash - "Sleeping on the Beach"
Problematically with upper-tier release days is decided a suitable second selection.
Excellent songs are notoriously difficult for the author to pair.
Often, if the opportunity presents itself, track with comparative style elements will be shared. Perhaps even a comparison can be made. But, more often than not, a hard-left turn is required. Fortunately, the present allows for a rare combination. The second selection may possess a drastically different, but equal flashes equal quality are shown by Jumping Jack Flash.
As with most of the man's work, a "Gqom romance" tag is afforded. The foundation kick/hi-hat is met by a sleepy bass as the smokey ambiance of an after-hours jazz club is conjured. Initial tones of deep house are more easily grasped than anything remotely kwaito. But as with "Goodnight You Animal," what makes the song below special of the nuances. Consider, for example, that a long, 32-bar beat is favored by the producer. The floorplan now set, the contrasts begin. A two-beat, amorphous vocal sample floats in the background as the 128 BPM kick drums plays off the slower nature of the three harmonic synths. Progress is not rushed. Syncopated, four-to-the-floor claps as well as what sound like an electric guitar push the track further into a climax.
So, in essence, like exists there is no easy formula for what makes any musician "top-tier." Jumping Back Slash, though, paints to the palette of colors in his head which is more than sufficient to keep him among good company.
- J.N.
A Noggle Brain Trust, LLP. website
There is nothing more inevitable than a conclusion itself.
If for no other reason, perfect exits are thus worthy of near-mythic status. Despite a 1990's renaissance, "leaving on high-note" pioneers such as George Costanza have been sidelined by history. Findings languish away in the face of contemporary research. Meanwhile, the field trudges on; a fraction of the attention it once received showered upon it. Acting on good advice may just be equally as difficult as requesting it in the first place. Subsequent results have been suboptimal, to say the least. Look no further than high profile retirements for proof. The case-by-case variety is astonishing. It seems no flawless manner; the ultimate escape now impossible. Harry Styles caused a near panic global while Don Francisco undoubtedly deserves a much more gigantic farewell.
But the present selection is more concerned with returning to the workplace rather than walking away.
Specifically, the author is referring to Ediifox (EdyFoOx): the oft forgotten third member of Casa da Mãe, a.k.a. Luso-Favre. The beat-maker's exploits have been covered before, so urther elaboration is unnecessary. For the uninitiated, though, a glossing over only seems polite. After all, EdyfoOx is a very capable producer; name recognition (save for some similar DJ monikers that arisen as of late) and multiple retirements withstanding. It is the latter half, though, that makes the most relevant impact. Despite claiming an end to his music career on more than one occasion, Ediifox has periodically made new and fascinating appearances.
Yet what makes the selection below exciting is two-fold. First, the song titled "Acredita" is not a one-off beat. In addition album-length feature, though a collaboration with fellow CDM beat-maker LiloCox is heard; a first since the original retirement. Of course, the possibility for anachronism is high. What is presented as a new could be a re-release. Notwithstanding, "Acredita" is a mid-tempo afro-house. Not unlike the hi-hat/sanre rhythm, the structure is relatable: two-individual verses in addition to the theme and a collaborative portion. A marimba. alongside acoustic guitar, is the song's melodic centerpiece as sheets of synth rain down the harmony. As a whole, the track is fairly minimal. Bass grooves on the even beats while a maraca and second piece of percussion swing.
Chronology aside, the download is recommended. Even if the song is not patently new, each element of what makes CDM great is on display: melodic/percussive originality, use of structure as a tool, and clean mastering among a long list of strengths.
Notable Mention: Jumping Back Slash - "Sleeping on the Beach"
Problematically with upper-tier release days is decided a suitable second selection.
Excellent songs are notoriously difficult for the author to pair.
Often, if the opportunity presents itself, track with comparative style elements will be shared. Perhaps even a comparison can be made. But, more often than not, a hard-left turn is required. Fortunately, the present allows for a rare combination. The second selection may possess a drastically different, but equal flashes equal quality are shown by Jumping Jack Flash.
As with most of the man's work, a "Gqom romance" tag is afforded. The foundation kick/hi-hat is met by a sleepy bass as the smokey ambiance of an after-hours jazz club is conjured. Initial tones of deep house are more easily grasped than anything remotely kwaito. But as with "Goodnight You Animal," what makes the song below special of the nuances. Consider, for example, that a long, 32-bar beat is favored by the producer. The floorplan now set, the contrasts begin. A two-beat, amorphous vocal sample floats in the background as the 128 BPM kick drums plays off the slower nature of the three harmonic synths. Progress is not rushed. Syncopated, four-to-the-floor claps as well as what sound like an electric guitar push the track further into a climax.
So, in essence, like exists there is no easy formula for what makes any musician "top-tier." Jumping Back Slash, though, paints to the palette of colors in his head which is more than sufficient to keep him among good company.
- J.N.
A Noggle Brain Trust, LLP. website
Monday, April 20, 2015
Dadifox - "Um Segundo [Ghetto Superstars version]"
Traditions are important to have.
Anything worth doing, as the cliche goes, is worth doing well
Surviving by the Skinner of one's teeth is more than a superstition. Pitchers may not step on the foul line when exiting the field. In some strange way, LeBron's chalk might just affect the quality of the air in the arena resulting in the idyllic atmosphere. When in the theater, it is important to never to wish anyone luck. Rather, a veiled threat is much more apropos where social regiment is concerned.
Such is the case with these pages and funana. Today, 4/20, is no exception.
But what makes the present selection even more exciting is a trend. The boxes for causation and correlation have been checked off. Dadifox is has proven his chops in the throwback department as neuron cannons fire-off. But the track below happens to borrow from the funana group; and a familiar one at that . On "Um Segundo" the credits are equitably dividded. Cabo Verdean kizomba artist Djodje is joined by Ferro Gaita on the instruments and vocals. The result is an outstanding combination of digital and analog sounds.
On the remix below, Dadifox keeps all the elements essential to the original song. The scraper/cowbell rhythm is maintained, for eample. Accordion is reduced to a four beat riff as the main difference is not confined in the melody. A kick snare, afrohouse beat has been added. In lieu further addition, bass has been parsed as well. Subwoofer sensibilities are crisp on the odd beats. A shaker further syncopates and the original hooks breaks up instrumental portions. Some harmonizing synth is eventually brought in on the final verse.
Very good song with nothing to dislike. The download is recommended.
Notable Mention: Puto Wilson & Mix Bwe [C.N] - "Avess[oO]x No Beat"
Little to no connection exists between selections.
An accordion is heard only briefly at the end
The link that is evident, however, is in the participants. Caught up in the recent wave of Puto Wilson works in the equally clandestine Mix Bwe. Titled, "Avess[oO]x No Beat," below is the latest addition to the recent tidal shifts; bass-head tunes normally heard from b.boy and TMP have found their way into others' creative process.
At any rate, the mid tempo batida is built around two djembes engaged in a call and response. Melodic and percussive elements are heard. The groove is clean and heavy. Much like the recent "Motherland Africa", the track is a captivating use of sounds. A wonderful cacophony emanates from the polyrhythms. The secret in betwixt the interactions and getting lost among them to the point of elation. Bass is equal parts harmony and rhythm. But the same can be said for the distant claps and shaker. The aforementioned accordion only become relevant when distinguishing two sections. Bleating like a foghorn, the queue is given. A change, no two changes, occur in the now, bouncier bassline.
As long as either of these producer is willing to search for new sounds, an audience is sure to follows. The download is recommended both for collection purposes and likelihood of deletion as the output continues to be very positive from both deejays.
- J.N.
A Noggle Brain Trust, LLP. website
Anything worth doing, as the cliche goes, is worth doing well
Surviving by the Skinner of one's teeth is more than a superstition. Pitchers may not step on the foul line when exiting the field. In some strange way, LeBron's chalk might just affect the quality of the air in the arena resulting in the idyllic atmosphere. When in the theater, it is important to never to wish anyone luck. Rather, a veiled threat is much more apropos where social regiment is concerned.
Such is the case with these pages and funana. Today, 4/20, is no exception.
But what makes the present selection even more exciting is a trend. The boxes for causation and correlation have been checked off. Dadifox is has proven his chops in the throwback department as neuron cannons fire-off. But the track below happens to borrow from the funana group; and a familiar one at that . On "Um Segundo" the credits are equitably dividded. Cabo Verdean kizomba artist Djodje is joined by Ferro Gaita on the instruments and vocals. The result is an outstanding combination of digital and analog sounds.
On the remix below, Dadifox keeps all the elements essential to the original song. The scraper/cowbell rhythm is maintained, for eample. Accordion is reduced to a four beat riff as the main difference is not confined in the melody. A kick snare, afrohouse beat has been added. In lieu further addition, bass has been parsed as well. Subwoofer sensibilities are crisp on the odd beats. A shaker further syncopates and the original hooks breaks up instrumental portions. Some harmonizing synth is eventually brought in on the final verse.
Very good song with nothing to dislike. The download is recommended.
Notable Mention: Puto Wilson & Mix Bwe [C.N] - "Avess[oO]x No Beat"
Little to no connection exists between selections.
An accordion is heard only briefly at the end
The link that is evident, however, is in the participants. Caught up in the recent wave of Puto Wilson works in the equally clandestine Mix Bwe. Titled, "Avess[oO]x No Beat," below is the latest addition to the recent tidal shifts; bass-head tunes normally heard from b.boy and TMP have found their way into others' creative process.
At any rate, the mid tempo batida is built around two djembes engaged in a call and response. Melodic and percussive elements are heard. The groove is clean and heavy. Much like the recent "Motherland Africa", the track is a captivating use of sounds. A wonderful cacophony emanates from the polyrhythms. The secret in betwixt the interactions and getting lost among them to the point of elation. Bass is equal parts harmony and rhythm. But the same can be said for the distant claps and shaker. The aforementioned accordion only become relevant when distinguishing two sections. Bleating like a foghorn, the queue is given. A change, no two changes, occur in the now, bouncier bassline.
As long as either of these producer is willing to search for new sounds, an audience is sure to follows. The download is recommended both for collection purposes and likelihood of deletion as the output continues to be very positive from both deejays.
- J.N.
A Noggle Brain Trust, LLP. website
Puto Wilson [C.N] - "Motherland Africa"
Gandhi was covered in paint.
A waterfall may be renamed.
At the present time, though, what matters is a bronze figure, or rather the lack there of one, in Cape Town. Not since the United States' invasion of Iraq in 2003 has a statue received more international intention. As is often the case in politics, passions have been inflamed. Demands have been made. And, ultimately, the result was just what the protesters had desired amid cries that "Rhodes has fallen."
The present, however, concerns a reappearance rather than disappearance.
Granted, the cameo does not come as a surprise. Puto Wilson has been been whispering around for the past two weeks. Most of the sounds have been demos but the upside is evident. A shift towards bass sounds is forthcoming. The track below, as a matter of fact, is comes off the heals of a very similar sounding beat in "Origins Rhythms." Appearing last week, the song titled, "Motherland Africa" rounds out the original concept. A mid-tempo batida, two different kick.snare rhythms make up the song. The general idea is a kuduro/afro-house beat. In the middle, though, the snare is cut up and a bass flutters in between for the deep groove. Just one synth is heard in the harmony. Otherwise, the track is typical Avp, mostly percussion.
Worth the download because of quality and the inevitability that it will be taken down.
Notable Mention: Puto San [Black Starz Dj's] - "Qualidade
Another carry over from a week ago, the song that follows is a strong offering regardless.
An argument could even be made that the second feature is, in fact, the superior song
The amke-up is very similar, after all. Like Puto Wilson, Puto San has opted for a mid-tempo afro-house on "Qualidade." The song is a a neat palindrome: Intro-A-B-C-B-A. With a kick/snare - though switches are heard with hi-hat/kick - beat the syncopated bya upbeat snare and a 4/4 vocal sample. The bass is a deep eight-beat groove as well. A hypeman then starts shouting "mete" as a marimba carries the triplet melody.
There is no exaggeration in the title. Another strong effort from a Dj that continues to impress.
- J.N.
A Noggle Brain Trust, LLP. website
A waterfall may be renamed.
At the present time, though, what matters is a bronze figure, or rather the lack there of one, in Cape Town. Not since the United States' invasion of Iraq in 2003 has a statue received more international intention. As is often the case in politics, passions have been inflamed. Demands have been made. And, ultimately, the result was just what the protesters had desired amid cries that "Rhodes has fallen."
The present, however, concerns a reappearance rather than disappearance.
Granted, the cameo does not come as a surprise. Puto Wilson has been been whispering around for the past two weeks. Most of the sounds have been demos but the upside is evident. A shift towards bass sounds is forthcoming. The track below, as a matter of fact, is comes off the heals of a very similar sounding beat in "Origins Rhythms." Appearing last week, the song titled, "Motherland Africa" rounds out the original concept. A mid-tempo batida, two different kick.snare rhythms make up the song. The general idea is a kuduro/afro-house beat. In the middle, though, the snare is cut up and a bass flutters in between for the deep groove. Just one synth is heard in the harmony. Otherwise, the track is typical Avp, mostly percussion.
Worth the download because of quality and the inevitability that it will be taken down.
Notable Mention: Puto San [Black Starz Dj's] - "Qualidade
Another carry over from a week ago, the song that follows is a strong offering regardless.
An argument could even be made that the second feature is, in fact, the superior song
The amke-up is very similar, after all. Like Puto Wilson, Puto San has opted for a mid-tempo afro-house on "Qualidade." The song is a a neat palindrome: Intro-A-B-C-B-A. With a kick/snare - though switches are heard with hi-hat/kick - beat the syncopated bya upbeat snare and a 4/4 vocal sample. The bass is a deep eight-beat groove as well. A hypeman then starts shouting "mete" as a marimba carries the triplet melody.
There is no exaggeration in the title. Another strong effort from a Dj that continues to impress.
- J.N.
A Noggle Brain Trust, LLP. website
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