Fix anything and everything; even if none of it is broken.
Do not fall into the trap of comforting familiarity
The time is right for improvement. Put those hands to good use by allowing the sun to rise above a refurbished home. Whether or not the abode is located on a haunted hill is of no importance; unless, of course, the ghost of Vincent Price is present. Excuses are moot. Good sense is simply unnecessary for a untaking personal project; rely solely on intuition. Go forth, set goals, and conquer. A house of spirits is will not build itself.
Yes, renovation is inevitable.
And in just such a spirit Casa da Mãe returns to these pages for the second time in two weeks. Following the appearance of a Ediifox/LiloCox dupla, the latter producer is back at work; this time with a remix. Titled "Matimba," the source song is a kuduro banger past credited to the Angolan duo Homeboyz Muzik. Simplicity is key. A single snare pounds out a recognizable rhythm as bass drum establishes the descending bass line. Syncopation is provided by a collection of vocals in addition to a shaker. The only melodic element is a horn collection. Far from mundane, however, the "Matimba" is a strong, elegant dance song.
Appropriately, then, improvement does not even cross LiloCox's mind. Instead. The song below essentially guts the original while building around the remaining structure; resulting in a nearly novel, and quicker, afro-house creation. While the beat is maintained many more drums are heard. In addition to the kick/hi-hat a tom drum swings. As in the original, a shaker is used but is adapted into playing triplets. A tambourine hitch is appears on quarter notes as a djembe is heard much later. Partial female vocals are retained by only sporadically heard. The central element however, is the ambient synth serving as a backdrop. Three distinct sections sections make-up the track: Introduction-A-B-interlude-B-C-A-B
Honestly, though, the write-up is more or less a ruse. Of course the song below is well worth a download.
Notable Mention: Deejay Earl x DJ Taye - "In Nia'Alu - 5 Dolla A$$ VIP"
Similarly, the second selection prominently uses a vocal sample.
The finals product, however, is noticeably different.
Cymbals desperately try to keep up with the singing - seemingly from Sting's "Desert Rose" - but reluctantly peter out after some sixteen beats. Such is the metaphor that best describes the latest joint creation from the minds Teklife disciples Deejay Earl and DJ Taye.
What follows can best be described as fluid. The principle elements are a hi-hat cymbal...snare drum...digital claps. An air horn is chopped up and rearranged for melodic purposes. In the latter stage, the sound of a xylophone passed through a USB port suddenly adds some harmony. By and large, though, the song titled "In Nia'Alu - 5 Dolla A$$ VIP," flows wherever the tide (i.e. the bass) desires. Once the song proper begins, the loops become shorter. Slowly the subwoofer rumbles. Any nearby life with the force of a whirlpool. On the latter half, however, a change occurs. The bass plays a broken chorus; rises and falls.
An exhausting piece of work. Not bad just...overwhelming.
- J.N.
A Noggle Brain Trust, LLP. website
Wednesday, May 6, 2015
Tuesday, May 5, 2015
Tev'n - "MFY"
For all its faults and shortcomings, the United Nations does not possess any black helicopters.
Conspiracy theorists be damned.
Granted, the sequel to the failed League of Nations is not free from fault. Of note is water-based debacle on the island of Haiti; and recently a set of alleged dark atrocities in the heart of the African continent. But reckless new world order-type mercenaries the blue helmets are not. If UN is guilty of any criminal possessions, though, it is the hoarder sized set of acronyms in a backwoods hangar. The cryptic allusions range from mainstays such as UNICEF, IMF, and WHO, to more obscure bodies including ICAO (International Civilian Aviation Organization) and UPU (Universal Postal Union). But it was a Canadian named Lester B Pearson that said "We would have been in the soup if this force had been charged with the job of 'enforcing' anything;" presumably a reference to the general resolution on Campbell's alphabet.
Which is to say, mechanical black birds are not to be feared.
While not an international governing body, Tev'n has chosen to join in on the typographic fun. Just yesterday the London based artist shared "SLT;" a track built around the first verse from the pre-Doris Earl Sweatshirt song "Drop." One occurrence is a coincidence. A second case, however, marks the beginning of a trend.
Released Sunday night, "MFY" is less of an alteration and more of an original concept. But where "SLT" puts more emphasis of mood and melody, "MFY" is primarily concerned with rhythm and space. Heavily indebted to hip-hop, the 8-beat bars are built around hi-hat/kick/snare with two splashy cymbals providing some fill and depth. Melody is carried in equal parts by short electric guitar sample and vocal loop; a longer piano phrase is heard as well. Most intriguing though, is how Tev'n lays out the track. The first verse serves as the introduction, followed by a chorus, and then another verse. Then, the standard operating procedure is discarded. A section with semblance to a bridge, marked by some squeaky synth, is followed by a "screwed" section typically reserved for outro. Afterward, a reprise of the bridge is heard. Vocals open up and become more ambient with the drums - soft kick/snare - being pushed into the distance. An extended portion closes out the song an alternative take on the original rhythm and a new set of layered vocals.
Atypical and highly creative, the final result is a very strong song indeed.
Notable Mention: Noisdam. - "Waiting [Prod. by Lakim]"
The second selection is a much more relatable cut.
Perfectly ordinary, however, does not quite to the track justice.
A cross country effort, "Waiting" is a joint effort by Soulection producer Lakim and Chicago vocalist Nosidam (no-si-damn) released over the weekend. The R&B and neo-soul vibes are strong due in part to the economic nature of the beat. Each and every element counts. Including the vocals, just nine elements are heard throughout, beginning with the kick/snare rhythm. As promised, though, the sounds are not entirely typical. Hardly any bass is heard as quarter beats are left to the domain of a crash cymbal. The song's true beauty, however, is in the eurythmy of the melody. Every two bars a new synth is added. What begins as a light, fluffy harmonic synth, is joined by a high-pitched doing melody. Seemingly out of nowhere the sounds of glass harmonica appear with a longer phrase than the rest. And Lakim is not yet done, an eight stroked on an 8-bit synth lead toward a thick, LA funk bassline as the tension - both musically and lyrically - breaks and the rhythm turns into a something not unlike breakbeat.
None of which is meant to overshadow Noisidam's performance. Throughout the number the vocals are whispered. A sense of danger, like biting into the forbidden fruit, is given off. There is no over reliance on vibrato. Vocal runs are modest and effective. As previously mentioned, tension slowly builds only to crest; breaking not with power or volume, but with a minor change in the delivery. The flow alters and listerners are led into the sway of the evening that has been described.
No way around the obvious, just a very very good song
- J.N.
A Noggle Brain Trust, LLP. website
Conspiracy theorists be damned.
Granted, the sequel to the failed League of Nations is not free from fault. Of note is water-based debacle on the island of Haiti; and recently a set of alleged dark atrocities in the heart of the African continent. But reckless new world order-type mercenaries the blue helmets are not. If UN is guilty of any criminal possessions, though, it is the hoarder sized set of acronyms in a backwoods hangar. The cryptic allusions range from mainstays such as UNICEF, IMF, and WHO, to more obscure bodies including ICAO (International Civilian Aviation Organization) and UPU (Universal Postal Union). But it was a Canadian named Lester B Pearson that said "We would have been in the soup if this force had been charged with the job of 'enforcing' anything;" presumably a reference to the general resolution on Campbell's alphabet.
Which is to say, mechanical black birds are not to be feared.
While not an international governing body, Tev'n has chosen to join in on the typographic fun. Just yesterday the London based artist shared "SLT;" a track built around the first verse from the pre-Doris Earl Sweatshirt song "Drop." One occurrence is a coincidence. A second case, however, marks the beginning of a trend.
Released Sunday night, "MFY" is less of an alteration and more of an original concept. But where "SLT" puts more emphasis of mood and melody, "MFY" is primarily concerned with rhythm and space. Heavily indebted to hip-hop, the 8-beat bars are built around hi-hat/kick/snare with two splashy cymbals providing some fill and depth. Melody is carried in equal parts by short electric guitar sample and vocal loop; a longer piano phrase is heard as well. Most intriguing though, is how Tev'n lays out the track. The first verse serves as the introduction, followed by a chorus, and then another verse. Then, the standard operating procedure is discarded. A section with semblance to a bridge, marked by some squeaky synth, is followed by a "screwed" section typically reserved for outro. Afterward, a reprise of the bridge is heard. Vocals open up and become more ambient with the drums - soft kick/snare - being pushed into the distance. An extended portion closes out the song an alternative take on the original rhythm and a new set of layered vocals.
Atypical and highly creative, the final result is a very strong song indeed.
Notable Mention: Noisdam. - "Waiting [Prod. by Lakim]"
The second selection is a much more relatable cut.
Perfectly ordinary, however, does not quite to the track justice.
A cross country effort, "Waiting" is a joint effort by Soulection producer Lakim and Chicago vocalist Nosidam (no-si-damn) released over the weekend. The R&B and neo-soul vibes are strong due in part to the economic nature of the beat. Each and every element counts. Including the vocals, just nine elements are heard throughout, beginning with the kick/snare rhythm. As promised, though, the sounds are not entirely typical. Hardly any bass is heard as quarter beats are left to the domain of a crash cymbal. The song's true beauty, however, is in the eurythmy of the melody. Every two bars a new synth is added. What begins as a light, fluffy harmonic synth, is joined by a high-pitched doing melody. Seemingly out of nowhere the sounds of glass harmonica appear with a longer phrase than the rest. And Lakim is not yet done, an eight stroked on an 8-bit synth lead toward a thick, LA funk bassline as the tension - both musically and lyrically - breaks and the rhythm turns into a something not unlike breakbeat.
None of which is meant to overshadow Noisidam's performance. Throughout the number the vocals are whispered. A sense of danger, like biting into the forbidden fruit, is given off. There is no over reliance on vibrato. Vocal runs are modest and effective. As previously mentioned, tension slowly builds only to crest; breaking not with power or volume, but with a minor change in the delivery. The flow alters and listerners are led into the sway of the evening that has been described.
No way around the obvious, just a very very good song
- J.N.
A Noggle Brain Trust, LLP. website
Dj Firmeza [PDDG] - "Perdido Em Espanha"
National anthems are indisputable bangers.
No other manner of song can bring the masses to their feet at just a moment's notice.
The results are obvious. Emotions are stirred. Reverence is paid by currency of applause. And with any discernible amount of luck, audiences are privy to a special rendition as well. There is Queen at Wembley in 1986. Jimi Hendrix and Ted Nugent have opposing takes on the "Star Spangled Banner," but there can only be one Marvin Gaye at the 1983 NBA All-Star game. Still, what no one will admit is that the feelings affixed to these compositions are entirely subjective. The author, for example, due to an close Belarusian friend, exhibits some partiality toward the old Soviet anthem despite of never having visited the country. Yes, nationalistic fervor certainly exists. It was Calle 13 that sang, "El que no quiere a su patria no quiere a su madre." Without the six senses, though, memories become difficult to conjure.
With regard to Spain, though, "La Marcha Real" is an objectively strong number.
Perhaps Firmeza has heard it, perhaps not. Such a notion, however, is largely irrelevant. What matters is that the PDDG beatmaker continues his 2015 pace of 2 tracks a month with a new song is titled "Perdido em Espanha." A fast paced batida, what follows is, apparently, the first taste of mixtape titled Tudo ou Nada and results are absolutely moving. The track is built around a four-beat kuduro rhythm with clave syncopation. A big, bouncing bass drum comforts the subwoofer while a fourth effect further swings; the frequency of which establishes is brought into the A-B section in the first half. Melody is sparse, even after the introduction of accordion in the second half. A single, ominous note harmonizes before a second exploit the negative space; section divided by the swinging sound as well. The only possible criticism is the over reliance on crash cymbal as a transitional effect.
While perhaps boring to some, the track is a testament to the idea that less can be more with proper organization and a natural feel for symmetry.
Notable Mention: Puto Wilson & Mix Bwé [C.N] - "Mixtape Kuduros"
Legacy wise, the second selection is not quite as storied as any anthem.
The beat-maker's online behaviour, however, does befit a head of state; albeit the sovereign nation of Freedonia.
Puto Wilson's antics are not new. Every couple of months the Casa Nossa/Avessos Produções Dj will simply wipe the SoundCloud slate clean. One or two tracks may be left behind. By and large, though, audio scraps are few and far between. So when a new level of eccentricity was reached this week when previously deleted tracks have mysteriously made their way back onto the internet landscape the author's interest peaked. Readers are recommended to venture a listen as these songs are sure to vanish once again.
But the present concerns a debut rather than a revisitation. Following the release of "Avess[oO]x No Beat," just two weeks ago, Wilson once again joins forces with frequent collaborator, the equally mysterious Mix Bwé. But what follows is less of a finished product and more of a teaser. With any hope the, though, four sections on "Mixtape Kuduros" will result in a full-length versions. The bass is mixed heavy any clean (no peaking). Melodies are carried by synths without the slightest semblance to a keyboard. In addition to the consistently strong sense of rhythm a few new sounds are heard in the form of a belland ope hi-hat as well as cuica in a vocal track near the end.
- J.N.
A Noggle Brain Trust, LLP. website
No other manner of song can bring the masses to their feet at just a moment's notice.
The results are obvious. Emotions are stirred. Reverence is paid by currency of applause. And with any discernible amount of luck, audiences are privy to a special rendition as well. There is Queen at Wembley in 1986. Jimi Hendrix and Ted Nugent have opposing takes on the "Star Spangled Banner," but there can only be one Marvin Gaye at the 1983 NBA All-Star game. Still, what no one will admit is that the feelings affixed to these compositions are entirely subjective. The author, for example, due to an close Belarusian friend, exhibits some partiality toward the old Soviet anthem despite of never having visited the country. Yes, nationalistic fervor certainly exists. It was Calle 13 that sang, "El que no quiere a su patria no quiere a su madre." Without the six senses, though, memories become difficult to conjure.
With regard to Spain, though, "La Marcha Real" is an objectively strong number.
Perhaps Firmeza has heard it, perhaps not. Such a notion, however, is largely irrelevant. What matters is that the PDDG beatmaker continues his 2015 pace of 2 tracks a month with a new song is titled "Perdido em Espanha." A fast paced batida, what follows is, apparently, the first taste of mixtape titled Tudo ou Nada and results are absolutely moving. The track is built around a four-beat kuduro rhythm with clave syncopation. A big, bouncing bass drum comforts the subwoofer while a fourth effect further swings; the frequency of which establishes is brought into the A-B section in the first half. Melody is sparse, even after the introduction of accordion in the second half. A single, ominous note harmonizes before a second exploit the negative space; section divided by the swinging sound as well. The only possible criticism is the over reliance on crash cymbal as a transitional effect.
While perhaps boring to some, the track is a testament to the idea that less can be more with proper organization and a natural feel for symmetry.
Notable Mention: Puto Wilson & Mix Bwé [C.N] - "Mixtape Kuduros"
Legacy wise, the second selection is not quite as storied as any anthem.
The beat-maker's online behaviour, however, does befit a head of state; albeit the sovereign nation of Freedonia.
Puto Wilson's antics are not new. Every couple of months the Casa Nossa/Avessos Produções Dj will simply wipe the SoundCloud slate clean. One or two tracks may be left behind. By and large, though, audio scraps are few and far between. So when a new level of eccentricity was reached this week when previously deleted tracks have mysteriously made their way back onto the internet landscape the author's interest peaked. Readers are recommended to venture a listen as these songs are sure to vanish once again.
But the present concerns a debut rather than a revisitation. Following the release of "Avess[oO]x No Beat," just two weeks ago, Wilson once again joins forces with frequent collaborator, the equally mysterious Mix Bwé. But what follows is less of a finished product and more of a teaser. With any hope the, though, four sections on "Mixtape Kuduros" will result in a full-length versions. The bass is mixed heavy any clean (no peaking). Melodies are carried by synths without the slightest semblance to a keyboard. In addition to the consistently strong sense of rhythm a few new sounds are heard in the form of a belland ope hi-hat as well as cuica in a vocal track near the end.
- J.N.
A Noggle Brain Trust, LLP. website
Monday, May 4, 2015
Monday Morsels (04 May 2015)
just songs or.. whatever
Summer is fast approaching
A certain premium cable provider prefers a wintry approach, but it is the dog days that should be most feared.
Are the good times ever here to stay? It seems that with each passing year their visit becomes shorter. Upon glancing at today's date the message become clear: this year is now awash. Such is the case, at least, from the author's observational porch here in the American southwest. Once April concludes delirious drivers begin to watch their car windows rise. Likewise, a hermetic seal is created between living rooms and the outside world. The Sonoran desert slowly reverts back into an inhospitable oasis of man's own creation.
Yet such an opinion bucks the trend.
There is soon to be no more school for both the pupils and their beloved professor Cooper. Some call it a holiday, others prefer vacation; but the sentiment is all the same. Rest is good and relaxation is better. The beaches of San Diego will soon be overrun by eager pleasure seekers fervently fixated on open air cooking. Festive fire flights are sure to follow. Come July red glaring rockets flex all of their of their might; beads of sweat dripping down cold bottles of Hefe now perennially in sight.
Still, the obvious is difficult to ignore.
Consider all of the bunnies - altogether too many - that suddenly appear during spring. All of the animals are equal, but none are more equal to triple digit heat. The block is hot enough to fry any kind of egg. New England tolerates the snow for months on end but here the threat is much different; not to mention decidedly less visible. Concerts are typically good, making free admission all the better. Alas, two condition exist. First, the performance will not be shut down by any fire marshals and second, attendance is absolutely mandatory. Yes, the cicadas have already started to hum and no set of rabbit ears can apprehend a signal from nature's special source of static.
Be that as it may, there is not a single sensible reason to be entirely negative about the situation at hand.
Discomfort aside, the summer packs its own brand of positivity. Nostalgia is one the loose. Memories restlessly roam. Each drag on cigarette, in the middle of the day, under Helios's glaring guise, not a single warm breeze in sight, slowly burns a new breaktime endeavor into the smoker's mind. The outside air feels different as skin is sinfully seared. And, come nightfall, a certain warmth hangs heavy overhead. The song of the summer - be is six-digit desires, gold rush groupies, or a fanciful fracas - is irregularly heard. Cinema becomes louder and brighter, too. Altogether time is persistent and appears to move slower; to the point where clocks just might melt. Clouds of dust will run rampant upon the city; funny name and all. But, best of all, are the unexpected, lukewarm rainfalls in the middle of the night.
Sometimes, one must take all of the good while accepting some of the bad.
Excessive ranting and raving now sufficed, onwards to this week's selections..
Summer nights are hardly the same without a partner to love the day before it drifts away. Appropriately, then, the week's first is a collaborative effort. Once again the Black 'n' Power Beatz crew. Despite an affinity for more exotic sounds what follows is a mid-tempo from Dj Edý & dj kingfo0xx titled "Decalé da Familia;" the second joint effort from the duo this year. The foundational beat is built around a four to the floor kick while the kuduro snare plays onward. A synth haze provides the harmony while a four beat guitar carries the run; but such is not the case throughout. Two sections differentiated by a synth seemingly taken from the "How It's Made" theme song. Frequent transitions and one-off peripheral sounds give the song a busier feel than is heard in actuality; syncopated djembe does not appear until the second half and, even then, sounds slightly drowned out. Nonetheless, the melody is well layered and the track is pleasant. As per usual, a download is available as well.
The second selection is also a mid-tempo afro-house with a beat built around the same kick/snare concept. Half as short and twice as dynamic, however, the track decidedly stands apart. Coincidentally, Dj Teklas D'cantwo - previously D'cantwo Junior - has not been featured on these pages since last summer. But in this period of time the beatmaker has been steadily at work; working alongside the likes of Dotorado among others and the progress shows. Despite being what the title suggests, "Welcome," demo the track below shows ample promise beginning with the two-bar, eight-beat intro. Beginning with a crash, the song's central element, a synth is presented after a crash cymbal, and reverb drenched guitar - later used as a back end fill - is soon to follow. As the first section begins, the Dj opts for an unorthodox transition. Rather than use a drum fill or cymbal, a single funk carioca beat is teased. The track promptly expands to sixteen beats. A second harmonic synth is added while some claves and female vocals swing; marimba somewhere in between all the while. Alas, the structure mimics that of a batida. Just as quickly as the number started, the producer leads listeners back to the beginning. A download is certainly recommended.
Outliers can be a nuisance where numbers and statistics are concerned. In the right brained realm, however, such anomalies are generally amusing to observe and typically welcome. Dj K30 is no exception. While the his Txiga cohort entrench themselves within increasingly percussive concepts, the producer at hand is a specialist in widening his gaze; a trend which is continued with his latest track. Released on Saturday, the song below is far from experimental kizomba built around a kick/hi-hat beat. Whistle and djembe providing hitches all the while; the latter adding some rolling 1/8 some batuco vibes near the end. Both structure and length are radio friendly. The song is predictably synth heavy - a total of four are ultimately heard - but in a throwback to semba the harmony is created by an electric guitar. Vocals syncopate during the chorus, piano and chimes are heard before the bridge. A well composed song given the busy make-up; the only negative being a bass that blends into its surroundings.
For the final two selection a slight left-hand turn is taken.
Far from insinuating a sudden shift toward the avant-garde, the author is merely implying a change of pace. Strictly speaking, no more Luso-centric sounds are featured in the post. Such is the case with "Tele-VCO (Tiger mix)," a mid-tempo, minimal house song released last night. Although credited to Nortec Collective's Pepe Mogt the song could just as easily fit within the Matias Aguayo/Comeme umbrella. The beat is built around a dynamic hi-hat that has been paired with claps. Some loose snare and cymbals are heard in the introduction but hardly play a role, The kick drum plays four to the floor as the standard pop structure unfolds. Organ and keyboard play the occasional fill and the horn section - trumpets up from, trombones in back - add some Latin flare to the central funk/disco bass.
But, perhaps, the writing does not do the song justice. The below is really very strong and the download is recommended; uncharacteristic statements from the author, an unrepentant house music hater.
Two years ago, upon the release of Acid Rap, Chance the Rapper sang, "I heard everybody's dying in the summer / So Pray to God for a little more spring"
Heatwaves bring violence; such a statement should serve as no surprise. Discomfort leads to anger which leads to poor decision making; at times resulting in death. But such a phenomenon is far from being limited to Chicago. Gun violence plagues the entirety of the American population; albeit skewed towards minority groups and those that are relegated to serving the economy rather than being served by it . Alas, what brought Baltimore, Maryland to the forefront of national and international focus last week does not concern a heinous act of this nature. Rather, a longstanding, and unconscionable trend exists in the United States whereby the public service sector serves different constituencies differently; a practice that has recently, and tragically been brought to the masses attention. As a result of this particular instance, scores of protesters have been arrested, a number of officers have been arrested, and six individuals stand accused of playing a role in the death of a civilian named Freddy Gray.
Music - art at large, really - hardly exists in a vacuum. Perhaps it is guilt, perhaps its altruism, but such a background is deemed necessary by the author; a decidedly caucasian individual of Puerto Rican and Jewish descent.
After all, the final selection hails from the Charm City itself. Coming off the heels of an excellent EP, titled "Starlife", alongside fellow rapper JB and producer ISMBeats, AG RapGod returns with a brief, slice of life freestyle - dedicated to family, friends, and the 301 - over the Scott Storch produced Beyonce track "Me, Myself, and I." AG speaks directly to the listener that as he chronicles the challenges that he has overcome as well as those that are still to follow regardless of confidence. The man intends to be influential while bucking claims of being excessively traditional. But while reminiscent of New York, a rapid-fire Midwestern delivery is flashed; transitions timely and clean. Enunciation is clear and the train of thought remains on point. So much so is the MC committed to quality over quantity that he spits, "Write these verses like a sermon / The stronger the message the more the conversion / I serve 'em like Erik Sermon;" a shoutout to the old Dej Jam outfit EPMD. Cop the download for sure before AG "fucks shit up for the whole summer."
- J.N.
A Noggle Brain Trust, LLP. website
Tuesday, April 28, 2015
Nidia Minaj - House Musik
Throw more stones.
Pick up a rock and chuck it with reckless abandon
Simply put, the literature remains unclear. A sweet tooth is not required to notice: some candy rocks pop while other rock candies remain idle. Queries are more frequently posed than answers - the stoned public clamoring for direction all the while. As a result, Perpetrators are left to their own resources as nothing more than intentions and motivations are used to determine the merit heaving-based activities. Two birds may be put to rest. In the case of more rural instances, for example, moss collection can be altogether avoided.
Alas, one certainty exists: residents of glass home should avoid the above suggestions at all costs.
It would seem that the proverb is practical at best. Glass is fragile and rubble is destructive. Nidia Minaj, however, builds beats not homes; the song but the latest, sturdy example in the artist's canon. Released earlier today, the title give the track a fair shake. A Hi-NRG/Eurodance synth line provides "House Musik" with a lively facade as the EDM cross-over potential can barely be contained. Bass takes on the appearance of both disco and funk. Although the hypnotic aspect of looping is relied upon for effect an Introduction-A-B-C-A-D structure is created. Kick/Tambourine create the rhythm which is syncopated by digital woodblocks. Traces of techno are gleaned from an otherwise studio-apartment track; four synths layered to great effect.
Very good song that breaks out of a local scene maintaining a more global appeal in mind.
Notable Mention: Niagara - "Arruda"
Earlier in 2015, Nidia Minaj released EP on Principe earlier this year
It just so happens, though, that the Portuguese imprint has another major release in the pipeline.
What can be heard below comes from just such a released; the upcoming Ímpar 12'' to be precise. Titled, "Arruda," the full-length teaser track was released yesterday. Slime, unlike french asparagus, the number strikes its blow with after effects. Kick/snare/snare are used to create a mid-tempo house beat. Later in the track a tambourine is heard syncopated. Just as minimal/deep as "House Music," Niagara nonetheless relies of a state of trance that is altered slightly between sections. Three to four different synths reminiscent of science fiction past are heard. A miniscule portion of female vocals are used to create a sounds representative of the cover art as well, but the song's true achievement is in combining the different styles and techniques without slightest clumsiness
Pick up a rock and chuck it with reckless abandon
Simply put, the literature remains unclear. A sweet tooth is not required to notice: some candy rocks pop while other rock candies remain idle. Queries are more frequently posed than answers - the stoned public clamoring for direction all the while. As a result, Perpetrators are left to their own resources as nothing more than intentions and motivations are used to determine the merit heaving-based activities. Two birds may be put to rest. In the case of more rural instances, for example, moss collection can be altogether avoided.
Alas, one certainty exists: residents of glass home should avoid the above suggestions at all costs.
It would seem that the proverb is practical at best. Glass is fragile and rubble is destructive. Nidia Minaj, however, builds beats not homes; the song but the latest, sturdy example in the artist's canon. Released earlier today, the title give the track a fair shake. A Hi-NRG/Eurodance synth line provides "House Musik" with a lively facade as the EDM cross-over potential can barely be contained. Bass takes on the appearance of both disco and funk. Although the hypnotic aspect of looping is relied upon for effect an Introduction-A-B-C-A-D structure is created. Kick/Tambourine create the rhythm which is syncopated by digital woodblocks. Traces of techno are gleaned from an otherwise studio-apartment track; four synths layered to great effect.
Very good song that breaks out of a local scene maintaining a more global appeal in mind.
Notable Mention: Niagara - "Arruda"
Earlier in 2015, Nidia Minaj released EP on Principe earlier this year
It just so happens, though, that the Portuguese imprint has another major release in the pipeline.
What can be heard below comes from just such a released; the upcoming Ímpar 12'' to be precise. Titled, "Arruda," the full-length teaser track was released yesterday. Slime, unlike french asparagus, the number strikes its blow with after effects. Kick/snare/snare are used to create a mid-tempo house beat. Later in the track a tambourine is heard syncopated. Just as minimal/deep as "House Music," Niagara nonetheless relies of a state of trance that is altered slightly between sections. Three to four different synths reminiscent of science fiction past are heard. A miniscule portion of female vocals are used to create a sounds representative of the cover art as well, but the song's true achievement is in combining the different styles and techniques without slightest clumsiness
The release is slated June release, if for no other reason than the late synth push on this very track.
- J.N.
A Noggle Brain Trust, LLP. website
- J.N.
A Noggle Brain Trust, LLP. website
Monday Morsels (27 April 2015)
just songs or.. whatever
Sitting down and complete such a task is much more difficult.
Worst of all, no instant solutions exists; not even to the privileged realm of firmly believing elites. Call off the front line of defense! Have each and trumpet player retreat. All of the world's horn could belligerently blow but not a single wall will crumble. Hallelujah.
A competent plan, though, can still be of tremendous use.
After all, facility can be gained most simply. Natural abilities, talents, and the concept of "effortlessness" are all legends: Do not believe in a single one. Focus is a much more salient trait, and conveniently preloaded into the hardware of all bipedal mammals. The only necessary investment is time. With the a steady reserve of seconds, minutes, and hours the desired output is sure to resemble intention. Precision is useful as well. It is patience, however, that proves to be the ever volatile variable. Results are not guaranteed to be immediate. Dues must diligently be paid, whether in part or in full.
Yet slowly and steadily progress is made.
Such is the byproduct of exercise: muscle growth. Whether physical or mental, biological gifts become stronger. An increased level of confidence tramples past and present trepidation. Soon the wall will meet a formidable foe; for as the old bodybuilding sage Gotama said, "The man of little learning grows old like a bull. He grows only in bulk, but his wisdom does not grow old." But what neither weightlifters nor mendicants will openly share is the process; the trials and tribulations overcome to possess knowledge and size. Surely the peace was not present in the midst of their struggle.
Still, the author refuses to engage in such myth making; details, however, are to be spared.
Long or short, extensive or brief, the posts that appear on these pages consistently put up a challenge. Some days provide a more concise set of material to cover than others. As such, inquietude varies. More so than the external pressures of generating interesting or maintaining attention, the problem becomes internal. Finished pieces should, typically, be an improvement over the prior day's project. But whether or not such a level is met is not for the author to decide. Writing is easy. Recalling that not enough time has yet been invested to truly be "good" is much more difficult.
As such, the same ballet takes places every Monday. Hours are spent wandering. The words of the screen do not appear fast enough. Inevitably, a winner must be declared. Today, fortunately enough, it seems, the victor is positive as the author considers it a relative success.
Excessive ranting and raving now sufficed, onwards to this week's selections..
Of all its positive attributes, perhaps the most compelling line "Puxa Puxa Larama" is when Limas do swagg sings "Quando na policia va chegar / nInguem vai se a meter;" a track that the song that follows has nothing in common musically. For all the kuduro energy brough my the former, the latter is a straight, mid-tempo hip-hop track. Puto Tito has gone relatively minimal with only eight elements being hear. A variant to to a boom-bap beat, percussion is abundant. The main rhythm is provided by a kick/snap/clap as a rattle syncopates. and tambourine - a knight rider hidden in plain sight - carries the groove. Only a chorus and verse are presented; each differentiated by a vocal sample. Police sirens and a single synth provide the run.
As far as salient references go, the second song serves as a much for suitable subject. The subject has even been covered once before; on a Willicox song. Accompanying the track was a still from an animation created by Ivandro Borges. What began as a viral YouTube video provided potential as a comedic take on hip-hop and graffiti. Although, it should be noted, the author possesses no close knowledge on the matter.
At the rate, the song below makes reference to the namesake show. A kick/snare rhythm creates the foundation on Puto Babaa's midtempo afro house song on his first appearance on these pages since his "African Scream" remix. The djembe syncopates but the true batimento comes from a second piece of percussion. Wilting bass grooves throughout. A flute carries the run, MIDI trumpets harmony, although vocals ultimately are brought in to provide an additional layer to both rhythm and melody
The element of song slapping is overrated. A convenience for radio jocks and party directors alike, the banger just provides a hack into the audience's attention. Both energy and focus are repurposed towards a unifying, familiar song. No song better emulated this nation than Karlitera and "Botão."
Which aside from the author's vested interest, is a a relatively objective statement. Not unlike the aforementioned "African Scream," Cachorro beat is imposing; an element not lost on the pairs latest joint. Titled, "Mostra Aonde Xta Tue Mae," a similar kick/tom propels the song with a hi-hat thrown in for measure. Shaker and claveles syncopate all the while. Bass is nearly modal as another droney synth infaltes the harmony. Otherwise, the run is maintained by a frontline/backline of trumpets. Vocals are heavily indebted to kuduro and adlibs are strong.
A running joke on this site concerns the style of music called funana. For whatever reason, the author is enamored by the tantric accordion and chemistry between guitars. The sentiments or hopefully shared by readers. What may serve as an equally formidable storyline, though, would be that of throwback selections on Monday Morsels.
Obscure references have a tendency to find a comfortable spot on the site. Both Peru and Colombia have been visited, for instance, by way of Lisbon. Similarly, the track below stays in the Western hemisphere. And while Dadifox is typically the initiator such is not presently the case. The honor is bestowed on Tia Maria's Puto Marcio instead. Rather than draw from the funk side of Brazil, the beat-maker opts to go acoustic. An early 90s samba/coco track is selected as the source material. Credited to Bezerra da Silva, Voz do Morro, "Overdose da Coca" is the title track from the Cocada Boa album - translating to good "cocaine overdose" and "good coconut candy/cocaine" respectively.
If nothing else, the remix is much more representative of the title. Only a brief portion of the original vocals is retained and used tooled into an arpeggio. The tempo is fast and bass is heavy, reminiscent of kuduro. Rhythm-wise, though, "Coca da Boa Guetto" resembles a fast batuco. Kick/hi-hat are the jumping off point for a djembe and effect to syncopate. Two other vocals contribute to the rhythm as well. Two different synth chirps are juggled into the melody as well.
A very strong effort from an underutilized style.
From footwork sounding to the genuine product, the final selection points toward the a different tye of ghetto house entirely.
Titled, "Wave n Static," the song below could be considered a telegraph to Dusselfdorf. The steady hiss of a synth acts as white noise while preparing the harmony. An organ provides the melody. Kick/snare/clap essentially provide the rhythm Hi-hat triplet are eventually brought in as well as a different ride. For stretches of the song, though, the compressed will pound steady 1/8 notes while the Morse code is explored. Trembling bass and slaps come into to break the pattern.
A terribly literal song where title is concerned as Acey acts as the juke Hubble, exploring kosmische limits of the footwork galaxy.
- J.N.
A Noggle Brain Trust, LLP. website
Friday, April 24, 2015
T.E.N. - "PSY"
Falling in love is easy.
Maintaining affection is much more difficult.
Such are the pitfalls of lusting. It can be easy to find new partner; yet immediate gratification does not necessarily translate into long-lasting joy. Creative crushes are no exception. Which is why, if for no other reason, SoundCloud provides the perfect platform for those interested in the musical equivalent of speed dating. No upfront commitment is necessary. The only requirement is that users to possess a general, abstract idea. Whether genre, length, or mood, - relevance or the nouveau - any desire can be fulfilled with just a few links. Only time is a necessary resource. But where to start? Well, an artist's likes are rarely fail. Reposts and follows are, likewise, decent enough places to explore.
Be prepared to fall into a deep hole of previously obscure music stylings.
Climbing out, though, is a decidedly most difficult task. The fear of missing out is a genuine cyber concern. Moreover, how can any validity be attached to these aural findings; an especially prescient question when lurking around amateur circles. Separating biases of the recency or confirmation nature with genuine intrigue can be tricky. Thus, there is one caveat to hold dear: the vast majority of artists are more than likely to be average, if not below.
But, by playing the game of averages, the odds tilt slightly in the consumer's favor.
Such can be said of the current selection, a loosie from Ohio artist T.E.N. (Tariq Equals Nerd). Titled "Psy," the song below is self-produced. A boom-bap rhythm is made up by kick/snare as the scraper syncopates. Electric guitar receives the bulk of harmonic credit. But in addition to the funk strumming, thought bubbles float to the surface on the back of each bar. The sound of an organ maintains the melody until a second synth appears during the chorus. With nothing negative to pick out, the only comment the author feels necessary is that the gain appears to be lacking on the master file.
Lyrically, "Psy" is made up of only one verse; and, likewise, just one chorus is heard. The content follows a first person narrator in a brief slice of life. Enunciation is clear, thus making is easier for the audience to appreciate the contrast of guilt of masculinity with the pleasure of, well, masculinity; not unlike the tartness of a grapefruit, perhaps. Throughout the track the flow is free with flashes of a nice singing voice being shown. Internal rhymes are thrown in for good measure. But while cereal themed punchlines and a reference such a "I’m Harry Potter with Quidditch, you get it," or the writing itself has upside.
Notable Mention: Domeniko - "Samantha [Prod by. Curbside Jones]"
Appropriately enough, the second selection comes to light in much the same way: questionably and without any references.
Not once has the author stepped foot in Kansas City, af.
Much to the contrary, though, Domineko hails from this fine, midwestern city. Released earlier this week, the track below is titled "Samantha." Three hooks, two verses and an outro follow a sample from Black Dynamite. Appropriately enough, the flow is traditional as the contents are made up of a persuasive narrative. The narrator, left with nothing but his wits and talent, must convincing the eponymous female of his worth. Trials and tribulations are not expressed in much detail although the cleverness in a section such as "I’m trying to go the distance / When these rap drums start banging / I mean, eventually will; ain’t got a pickle to deal / Soon as I get my chips, Doritos and Lays fuck all my mills."
Meanwhile, Austin based Curbside Jones is enlisted for production credits. The track is a throwback and largely sample based. A hi-hat/snare form the main rhythm; although kick and tambourine are brought into the fold during the first verse. During the second hook, however, a bongo syncopates. Likewise, a vocal sample appears to add additional harmonic reserves. Two electric guitars, piano, and a round out the remaining portions of the run
- J.N.
A Noggle Brain Trust, LLP. website
Maintaining affection is much more difficult.
Such are the pitfalls of lusting. It can be easy to find new partner; yet immediate gratification does not necessarily translate into long-lasting joy. Creative crushes are no exception. Which is why, if for no other reason, SoundCloud provides the perfect platform for those interested in the musical equivalent of speed dating. No upfront commitment is necessary. The only requirement is that users to possess a general, abstract idea. Whether genre, length, or mood, - relevance or the nouveau - any desire can be fulfilled with just a few links. Only time is a necessary resource. But where to start? Well, an artist's likes are rarely fail. Reposts and follows are, likewise, decent enough places to explore.
Be prepared to fall into a deep hole of previously obscure music stylings.
Climbing out, though, is a decidedly most difficult task. The fear of missing out is a genuine cyber concern. Moreover, how can any validity be attached to these aural findings; an especially prescient question when lurking around amateur circles. Separating biases of the recency or confirmation nature with genuine intrigue can be tricky. Thus, there is one caveat to hold dear: the vast majority of artists are more than likely to be average, if not below.
But, by playing the game of averages, the odds tilt slightly in the consumer's favor.
Such can be said of the current selection, a loosie from Ohio artist T.E.N. (Tariq Equals Nerd). Titled "Psy," the song below is self-produced. A boom-bap rhythm is made up by kick/snare as the scraper syncopates. Electric guitar receives the bulk of harmonic credit. But in addition to the funk strumming, thought bubbles float to the surface on the back of each bar. The sound of an organ maintains the melody until a second synth appears during the chorus. With nothing negative to pick out, the only comment the author feels necessary is that the gain appears to be lacking on the master file.
Lyrically, "Psy" is made up of only one verse; and, likewise, just one chorus is heard. The content follows a first person narrator in a brief slice of life. Enunciation is clear, thus making is easier for the audience to appreciate the contrast of guilt of masculinity with the pleasure of, well, masculinity; not unlike the tartness of a grapefruit, perhaps. Throughout the track the flow is free with flashes of a nice singing voice being shown. Internal rhymes are thrown in for good measure. But while cereal themed punchlines and a reference such a "I’m Harry Potter with Quidditch, you get it," or the writing itself has upside.
Notable Mention: Domeniko - "Samantha [Prod by. Curbside Jones]"
Appropriately enough, the second selection comes to light in much the same way: questionably and without any references.
Not once has the author stepped foot in Kansas City, af.
Much to the contrary, though, Domineko hails from this fine, midwestern city. Released earlier this week, the track below is titled "Samantha." Three hooks, two verses and an outro follow a sample from Black Dynamite. Appropriately enough, the flow is traditional as the contents are made up of a persuasive narrative. The narrator, left with nothing but his wits and talent, must convincing the eponymous female of his worth. Trials and tribulations are not expressed in much detail although the cleverness in a section such as "I’m trying to go the distance / When these rap drums start banging / I mean, eventually will; ain’t got a pickle to deal / Soon as I get my chips, Doritos and Lays fuck all my mills."
Meanwhile, Austin based Curbside Jones is enlisted for production credits. The track is a throwback and largely sample based. A hi-hat/snare form the main rhythm; although kick and tambourine are brought into the fold during the first verse. During the second hook, however, a bongo syncopates. Likewise, a vocal sample appears to add additional harmonic reserves. Two electric guitars, piano, and a round out the remaining portions of the run
- J.N.
A Noggle Brain Trust, LLP. website
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