The best way to learn to by observing.
Surroundings must always be paid their fair share of attention.
Act as a sponge: do not speak much and, if possible absorb whatever is occurring in the immediate vicinity. Setting up a residence inside of a pineapple is best left to the realm of personal preference. Consider that no two bikini bottoms are the same. Neither pants nor squares, though, are of great concern at the moment. Despite being a long standing opponent of walls that number four, the author has opted to leave this particular fight for another time More pressing issues await.
Concerns such as: Mouth, ears, and eyes have been covered for too long must be addressed
Due to fear, three of the more important human senses have been censored Questions cannot be asked without speech; itself unable to be acquired without eyes or ears. More importantly - and in just such a fashion - the author recently gained gain a lesson in pop culture history while waiting in line at a gas station. Like old friends meeting-up once again, the attendant asks a customer in a navy blue, button-down shirt, "You work two jobs?" To which the individual with a clay complexion responded, "Yeah, I'm like a Jamaican. I got two jobs." Most homies might not play that game in particular, but this cat was decidedly different.
On the song below, though, such a question does not exist. The performer is a professional musician. There is no doubt about it: singing the man's craft and released yesterday, "Ghetto Life" is the latest addition to I-Octane's cannon. A socially conscious record, the song is laid out in a typical pop fashion, Two short verses are featured over a mid-tempo kick/clap rhythm. Bass maintains a funky disposition throughout. Meanwhile, piano carries the melody while a synth synth the harmony; a second of the latter variety appearing in the second verse. During the hooks the percussion becomes for elaborate. For example, a closed-hit hat accents the fourth beats while an open hi-hat grooves on the thirds. Snare appears only briefly in the bridge. Auto-tuned singing is most relegated to the theme as each verse receives a novel delivery.
Very good song, no reason to complicate matters
Notable Mention: MrSM [TruchaGang] - "Jiggle It [Prod. by DJ Jyz]"
In contrast, the second song is clearly intended for the clubs.
One may even even that what follows is unquestionably a "slapper."
Such an assessment would not be false. The song below is grandiose. Created from the reckless lava of a volcano erupting at see, neither singer nor producer have any regard for innocent bystanders. Collateral damage is merely accepted as a tragic inevitability.
Released two days ago, "Jiggle It" is a fast number driven by a kick/snare beat. Ultimately, though, rhythm section is very much busier While closed hi-hats mark quarter beats claps syncopate. Djembe is heard at the beginning and nearly disappears, destined to a legacy overshadowed. Melody mostly comes from a three beat accordion. During the chorus, a four beat EDM synth , which undergoes a key change, is harmonized by the deep sounds of a piano. Bass is largely subtle and used mainly for its fill at the end of a bar.
But the most interesting aspect is the use of vocals. MrSM's delivery is mostly rap, except for the zouk/kizomba hook. As can be expected, ab-libs vary from vocalization to lines repetition; both of which add a layer of melody and rhythm. It a a final source, however, that has managed to grab the author's attention. A vocal sample lifted from Brazilian funk plays alongside the drums. As a syncopate the beat sound fuller and more robust as opposed to cluttered. An extra dose of energy is essentially provided.
The download is very highly recommended
- J.N.
A Noggle Brain Trust, LLP. website
Tuesday, June 16, 2015
DJ Set I can't Ado Much About - DJ Mika - REMIX AFROGUETTO EXCLUSIVE JUNE
The covers of books must be judged.
Appearances must somehow be maintained.
Initial impressions do serve a purpose, after all. It imperative when meeting anyone named Juliet that one be able to decide whether she is of the east or west. Suns have set for lesser men and woman. Rachel, for now at least, will be recalled more closely with Spokane than 90s New York City. Shed the idealist shell. The interaction that matters is first contact. Utimately characters are not only welcome but are also meant to be judged.
Granted, the beatmaker at hand is no stranger to these pages. Dj Mika has been featured on more than one occasion; more often than not in the supporting role of a funana cut. But the net is cast wide. While the man show a preference for traditional sounds his bias does not take away from more blatantly electronic numbers. Based on appearances alone, though, an accurate opinion of the Lisbon based, independent producer cannot be made. The name on display is a generic deejayMika93; nonetheless, the network of collaborators is strong (Mulatoh, EstraGaa, Big Vado). And still, a further contradiction is made: mastering can truly be a hit or miss affair.
Not to mention that what the above cannot change is that Mika content is important to watch out for.
The selection below is just the latest example. Decidedly afro-house, the "REMIX AFROGUETTO" is a mid-tempo to fast paced - a 130 BPM speed is shared - collection of songs that clocks-in at exactly fifteen minutes. A strong whiff of techno and house come off the mix. Syncopation is heavy but melodies are not aggressive; if anything appearing somewhat sparse. Both EDM synths and typical instruments are heard. In an tie backto disco origins, bass grooves regardless. Transition are smooth as songs are gently eased into a successful succession. The best quality the mix has, though, is the presence of exemplary talent. Tia Maria, CDM, Txiga, and a "Puxa Puxa Larama" remix.
Highlight shows are no replacement for viewing a live sporting event, but when necessary these shows can be quite useful.
- J.N.
A Noggle Brain Trust, LLP. website
Monday, June 15, 2015
Traxman [Teklife] - "Puerto Rican Day (Juke Edit)"
All of the world's countries are equal.
But, perhaps, some states are much more equal than others.
With that having been said, a full disclosure is in order. The current post has not been written under the guise of objectivity. Parties interested in a lack of bias are advised to search elsewhere. Instead, what follows is prideful and partial; fawning at the mouth, as a "very festive people" are wont to do. At any rate, the land mass in question is not, and has never been, a country in the traditional sense. These words might read as rough, but these feelings run deep. But such is the nature of the author's beloved island: a nation which Cultura Profetica once described as, "El unico pueblo latinoamericano que nunca se libero." The sentiment, though, is not uncommon. Identity and political status have long been a focal point for Puerto Rican artists during the last 116 years. Bards have sung, and will continue to sing, of Borikén's history in spite of tyrants' black magic because the island will be beautiful even "Sin banderas sin laurios ni gloria."
The sky is free its star flies alone.
But until that day when the status quo might change, parades shall gladly serve as a substitute. And so, in coinciding with this year's events, Chicago's-own Traxman released a fresh track on Saturday. Titled, "Puerto Rican Day (Juke Edit)" the song marks the second time in recent memory that the good DJ has found inspiration in Latin quarters; mainly the used an old Fania track graced by presence of the late Celia Cruz.
But the song in question - a quick number which favors the ghetto house roots over a contemporary footwork checklist - revolves around three different samples, beginning with two succinct male vocals. Claps provide a base-rhythm as the hi-hat is used toward four-to-the-floor purposes. Bass creates an underlying bounce while the fills and other syncopation are largely played by a snare; though scraper and miscellaneous percussion are heard as well. Once the introductory sounds are scaled back, though, the familiar sound of salsa are heard; coincidentally thr same Elvis Crespo song which inspired LyCoOx not too long ago. But ever the dynamic composer, change is to follow Corky Strong as the samples that follow are Yandel's "Moviendo las Caderas" as well as the forgettable 2012 sensation "We No Speak Americano."
Although it comes off as a medley, the selection is forceful and effective.
Notable Mention: Puto San [Black Starz Dj's] - "Bifee"
The second selection has a Latin connection as well.
This line, however, is not particularly bold.
Fortunately, quality is an able source of consolation; not to mention an element in which Black Starz Dj's specializes. The author has not heard a poor song from this transnational crew and the song below is no exception. Released over the weekend by Puto San, "Bifee" is mid-tempo to quick paced afro-house song with abundant percussion and a "RADIOLATINA" tag (likely in reference to a Parisian radio station). Lick drums establishes a foundation four-to-the-floor. Meanwhile, fembe creates an Angolan, kuduro beat. Ride cymbal is used for transitions while crash is the preferred method cue within a section, of which there are three. Vocals samples accent even notes, only to be joined by a friction drum and whistle at different moments. While largely absent, the bass is not missing. Mixing is clean; nearly medically sanitary in its level of subtlety. Any participant, though, is sure rewarded by a track that is able to induce a good trance.
The far superior track, though, comes from a different Black Starz DJ's member. Jaardel is part of the group's Portuguese contingent and deserves just as much attention. As a matter of fact, this quick aside does neither the man nor his music any justice. Alas, "G Original" is now two weeks old; exiting largely is the sphere beyond relevant publishing material. Regardless, the track is a veritable marvel. The sixteen beat, acoustic guitar melody is noteworthy but far from the show stopper. Polyrhythms are abound on a song that flirts with being a minimal batuco. Hi-hat/tom create the beat but are methodically eroded. Sticks are beat together as woodblocks ease into the groove and percussion ranging from drums to bells play away. Simply excellent.
- J.N.
A Noggle Brain Trust, LLP. website
But, perhaps, some states are much more equal than others.
With that having been said, a full disclosure is in order. The current post has not been written under the guise of objectivity. Parties interested in a lack of bias are advised to search elsewhere. Instead, what follows is prideful and partial; fawning at the mouth, as a "very festive people" are wont to do. At any rate, the land mass in question is not, and has never been, a country in the traditional sense. These words might read as rough, but these feelings run deep. But such is the nature of the author's beloved island: a nation which Cultura Profetica once described as, "El unico pueblo latinoamericano que nunca se libero." The sentiment, though, is not uncommon. Identity and political status have long been a focal point for Puerto Rican artists during the last 116 years. Bards have sung, and will continue to sing, of Borikén's history in spite of tyrants' black magic because the island will be beautiful even "Sin banderas sin laurios ni gloria."
The sky is free its star flies alone.
But until that day when the status quo might change, parades shall gladly serve as a substitute. And so, in coinciding with this year's events, Chicago's-own Traxman released a fresh track on Saturday. Titled, "Puerto Rican Day (Juke Edit)" the song marks the second time in recent memory that the good DJ has found inspiration in Latin quarters; mainly the used an old Fania track graced by presence of the late Celia Cruz.
But the song in question - a quick number which favors the ghetto house roots over a contemporary footwork checklist - revolves around three different samples, beginning with two succinct male vocals. Claps provide a base-rhythm as the hi-hat is used toward four-to-the-floor purposes. Bass creates an underlying bounce while the fills and other syncopation are largely played by a snare; though scraper and miscellaneous percussion are heard as well. Once the introductory sounds are scaled back, though, the familiar sound of salsa are heard; coincidentally thr same Elvis Crespo song which inspired LyCoOx not too long ago. But ever the dynamic composer, change is to follow Corky Strong as the samples that follow are Yandel's "Moviendo las Caderas" as well as the forgettable 2012 sensation "We No Speak Americano."
Although it comes off as a medley, the selection is forceful and effective.
Notable Mention: Puto San [Black Starz Dj's] - "Bifee"
The second selection has a Latin connection as well.
This line, however, is not particularly bold.
Fortunately, quality is an able source of consolation; not to mention an element in which Black Starz Dj's specializes. The author has not heard a poor song from this transnational crew and the song below is no exception. Released over the weekend by Puto San, "Bifee" is mid-tempo to quick paced afro-house song with abundant percussion and a "RADIOLATINA" tag (likely in reference to a Parisian radio station). Lick drums establishes a foundation four-to-the-floor. Meanwhile, fembe creates an Angolan, kuduro beat. Ride cymbal is used for transitions while crash is the preferred method cue within a section, of which there are three. Vocals samples accent even notes, only to be joined by a friction drum and whistle at different moments. While largely absent, the bass is not missing. Mixing is clean; nearly medically sanitary in its level of subtlety. Any participant, though, is sure rewarded by a track that is able to induce a good trance.
The far superior track, though, comes from a different Black Starz DJ's member. Jaardel is part of the group's Portuguese contingent and deserves just as much attention. As a matter of fact, this quick aside does neither the man nor his music any justice. Alas, "G Original" is now two weeks old; exiting largely is the sphere beyond relevant publishing material. Regardless, the track is a veritable marvel. The sixteen beat, acoustic guitar melody is noteworthy but far from the show stopper. Polyrhythms are abound on a song that flirts with being a minimal batuco. Hi-hat/tom create the beat but are methodically eroded. Sticks are beat together as woodblocks ease into the groove and percussion ranging from drums to bells play away. Simply excellent.
- J.N.
A Noggle Brain Trust, LLP. website
Friday, June 12, 2015
Politik Naï - "Cassé TSKN [Prod. by Dj Run]"
The bold are handsomely rewarded.
Venture off into the hinterland, dear readers.
Explore what this special, spherical Earth has to offer. No matter the variety, those that are well fed are destined not to hunger. The urge to travel is no exception. Whatever voice is shouting for wanderlust demands to be heard. Do avoid, however, the convenience of a consumer-friendly globe or venerable atlas. First hand accounts are of the essence. Matteo Ricci may have brought Asia the good news, but Marco Polo brought back the noodles some three-hundred years earlier. Pave a personal silkroad. To the financially minded, establishing a low-maintenance spice trade, might be more to taste. Alas, only remember not to travel in the wrong direction in a mad search for India.
Inglorious mistakes can only be rewarded with a holiday once.
But the selection below is far from an error. As travel ought to be, this latest stamp on the author's audio passport is both pleasant and enjoyable; even if some resistance is encountered. The track's origins are stubbornly elusive. Careful searching is of the essence. As a result, though, a collaborative web emerges.
Consider the selection at hand. Titled, "Cassé TSKN," the song is performed by was released Dj Run - one of four beat-maker united by the moniker Factory Maker - and performed by Politik Naï. Interestingly, though, under contact information for the production crew, an e-mail with a French domain code is listed. Meanwhile, another of the group's prominent member, Dj Sayd, appears to be from Martinique. As a result, the scope must be widened to gain a proper context. Unfortunately, the signal is further buried under noise.
Such is the case with another, recent Politik Naï track titled "Musik Mwen Love." Nearly all the typical elements of Antillean dancehall are present, none more prevalent that vaguely Jamaican title and creole French/English lyrics. The rhythm is undeniably zouk. Seemingly trap hi-hats groove. Claps are added for variety later and vocals are of both the toasting and singing variety; the latter with a polished kizomba feel that applies to the elaborate melody as well. Yet, the producer is from a different part of the world entirely. Based out of Réunion, DJ Tymers is a Run Hit aligned beat-maker with apt chops. On the Jones Killa track, ""La Pou Toué," for example, similar rhythmic abilities are shown, as well as a taste of organ amidst while the turn-up sensibilities of bro-step bass. But such is often the case in this scene: a recurring set of people brought together by language and music; never more present that on "Summer Flex," produced by VJ Awax, a featured artist on "Musik Mwen Love." The net is ultimately cast even wide. Leaning more towards soca than dancehall, and featuring, Guadeloupe's own Daly, creation proves to be more important than the classification.
Music does not need to be any more complicated than it already is.
But in returning to the original Dj Run song mentioned above, "Cassé TSKN," is decidedly dancehall. The vocals provided by Politik Naï vary between kizomba on the chorus and 90s, rapid-fire toasting on the verse; the latter calling to mind very early career Daddy Yankee. DJ Run opts for forceful snare rhythm throughout; only to be syncopated by hi-hats whenever the hook comes back around. Heavy four-beat piano carrier the melody while strings harmonize, in addition to a synth that plays a significant role in the groove. The throwback theme runs deep - especially during midway during the first verse, after the brief inclusion of claps, when a key change creates a much more picturesque outlook. As with any soundsystem creation, though, the bass is heavy and when combined with percussion it is absolutely reckless, The second verse serves as a witness to this feat.
Good song and the mediafire download should certainly be enjoyed.
Notable Mention: Byronn feat. Soulja'man - "Hot Gyal [Prod. by 4 Roads]
The second selection is, similarly, a West Indies dancehall tune.
Fortunately, a family tree, will not be provided.
At any rate, the track is sure to sound familiar. Two guitars are used for chicken scratch. Called the, Big It Up Riddim, 4 Roads uses a snare rhythm and maintains a bell metronome. The occasional percussion will is heard as well but for strictly practical purposes and hi-hat is sporadic. Vocal samples are put toward syncopation purposes. English vocals cover the gamut of gruff barking to clean toasting as well as singing.
Strong track from Martinique's DJ Tokinou, as per usual, but more on him and the Ay Coké Riddim at a later time/
- J.N.
Venture off into the hinterland, dear readers.
Explore what this special, spherical Earth has to offer. No matter the variety, those that are well fed are destined not to hunger. The urge to travel is no exception. Whatever voice is shouting for wanderlust demands to be heard. Do avoid, however, the convenience of a consumer-friendly globe or venerable atlas. First hand accounts are of the essence. Matteo Ricci may have brought Asia the good news, but Marco Polo brought back the noodles some three-hundred years earlier. Pave a personal silkroad. To the financially minded, establishing a low-maintenance spice trade, might be more to taste. Alas, only remember not to travel in the wrong direction in a mad search for India.
Inglorious mistakes can only be rewarded with a holiday once.
But the selection below is far from an error. As travel ought to be, this latest stamp on the author's audio passport is both pleasant and enjoyable; even if some resistance is encountered. The track's origins are stubbornly elusive. Careful searching is of the essence. As a result, though, a collaborative web emerges.
Consider the selection at hand. Titled, "Cassé TSKN," the song is performed by was released Dj Run - one of four beat-maker united by the moniker Factory Maker - and performed by Politik Naï. Interestingly, though, under contact information for the production crew, an e-mail with a French domain code is listed. Meanwhile, another of the group's prominent member, Dj Sayd, appears to be from Martinique. As a result, the scope must be widened to gain a proper context. Unfortunately, the signal is further buried under noise.
Such is the case with another, recent Politik Naï track titled "Musik Mwen Love." Nearly all the typical elements of Antillean dancehall are present, none more prevalent that vaguely Jamaican title and creole French/English lyrics. The rhythm is undeniably zouk. Seemingly trap hi-hats groove. Claps are added for variety later and vocals are of both the toasting and singing variety; the latter with a polished kizomba feel that applies to the elaborate melody as well. Yet, the producer is from a different part of the world entirely. Based out of Réunion, DJ Tymers is a Run Hit aligned beat-maker with apt chops. On the Jones Killa track, ""La Pou Toué," for example, similar rhythmic abilities are shown, as well as a taste of organ amidst while the turn-up sensibilities of bro-step bass. But such is often the case in this scene: a recurring set of people brought together by language and music; never more present that on "Summer Flex," produced by VJ Awax, a featured artist on "Musik Mwen Love." The net is ultimately cast even wide. Leaning more towards soca than dancehall, and featuring, Guadeloupe's own Daly, creation proves to be more important than the classification.
Music does not need to be any more complicated than it already is.
But in returning to the original Dj Run song mentioned above, "Cassé TSKN," is decidedly dancehall. The vocals provided by Politik Naï vary between kizomba on the chorus and 90s, rapid-fire toasting on the verse; the latter calling to mind very early career Daddy Yankee. DJ Run opts for forceful snare rhythm throughout; only to be syncopated by hi-hats whenever the hook comes back around. Heavy four-beat piano carrier the melody while strings harmonize, in addition to a synth that plays a significant role in the groove. The throwback theme runs deep - especially during midway during the first verse, after the brief inclusion of claps, when a key change creates a much more picturesque outlook. As with any soundsystem creation, though, the bass is heavy and when combined with percussion it is absolutely reckless, The second verse serves as a witness to this feat.
Good song and the mediafire download should certainly be enjoyed.
Notable Mention: Byronn feat. Soulja'man - "Hot Gyal [Prod. by 4 Roads]
The second selection is, similarly, a West Indies dancehall tune.
Fortunately, a family tree, will not be provided.
At any rate, the track is sure to sound familiar. Two guitars are used for chicken scratch. Called the, Big It Up Riddim, 4 Roads uses a snare rhythm and maintains a bell metronome. The occasional percussion will is heard as well but for strictly practical purposes and hi-hat is sporadic. Vocal samples are put toward syncopation purposes. English vocals cover the gamut of gruff barking to clean toasting as well as singing.
Strong track from Martinique's DJ Tokinou, as per usual, but more on him and the Ay Coké Riddim at a later time/
- J.N.
A Noggle Brain Trust, LLP. website
Telvin Timas [Estudio TF] - "Arrasta O Pato"
Animals are no better than people
Controversial the above statement is not.
The idea has been touted long before the advent of these pages. Yes, Primus sucks; alas, the Bay Area legends had some transcending words for those creatures of the wild variety. For his part, Roger Waters informed the world that dogs have a firm handshake and an easy smile. Penguins, of course, can dance. And literature, too, has always been privy to allegories. It goes without saying that George Orwell was known not to keep kosher at all.
Regardless of which branch of the animal kingdom one most identifies with though, one sentiment runs deeper than the rest.
It was the urban philosopher George Clinton that said, "Free your mind and your ass will follow;" and just such a sentiment is expressed on the song that follows. Hailing from Portugal by way of Cape Verde, Telvin Timas is an independent beat-maker. Of immediate note, however, are the strong geographical co-signs. In addition to representing his own TF Produções, the DJ in question resides in the municipality of Sintra, city of Queluz alongside AvP's Puto Babaa, MNJ's EdiCerelac, and DDPR's WilliCox.
Where tangible stamps of approval are concerned, though, curious parties need only seek out the recent BNM collaboration, "Beat dos LoKos." The demo is a fast-paced batuco; a style which Timas frequently works with. Alongside Dj Perigoso - for the second time - a bass drum massages the ear drums throughout. Tambourine swings and the hi-hat plays a supporting. Synth samples are very concise, varied and well arranged. Most noteworthy, though, is the dense machine rattle from a digital snare between the introduction and the head what appears to be just as much as a bouncing bass TF signature.
But of relevant interest is the title of the current selection. Titled, "Arrasta O Pato," the song was released yesterday and, literally translated, it seems the producer is suggesting that listeners appropriate the qualities of a mallard. But, with context, the request becomes more sensible. Webbed feet do not seem so bad. The reasoning is simple. A slow-paced song, "Arrasta O Pato" is driven by a snare/kick zouk beak. Two synths carries the run; one bass/harmony the other a high-pitched melody. During the second section tarraxo feel is added as a scraper swings and while djembe fill accent the fourth beats. Lower half, by this point should be prompted to have moved outward as ducks waddle towards the dancefloor. After all, kuduro is the stiff-ass dance music. A third section is added where the melancholy synth is replaced with strings. Critically, however, are two points. First is that each section - introduction included - could be a loop shorter and still have the same effect. Second is the issue of mastering. Although an argument can be made for authenticity and rawness, the author does not feel as such. Where biases are concerned, though, he also acknowledges acoustic instruments would not be held to the same standard.
Straight forward and effective from an otherwise, low-key technical DJ with an apparently high ceiling to be raised.
Notable Mention: Dj MarinO [B.S Produções] - "Sapo"
Similarly, the second selection is concerned with nature.
The only difference is a change from birds to amphibians.
Recently featured, Dj MarinO has continued to ride the wave of momentum he has created for himself. Titled "Sapo," the producer's latest track is a fast kuduro/batida released two days ago identified by subtle shifts. Both labels are given because each corresponds to a different element. Rhythm is driven in equal parts by the bass and, to the author's ears, and indistinguishable metal piece of percussion. Subwoofer frequencies vary from a four-to-the-floor to an Angolan bounce. A frog's ribbit is sampled alongside two other faint vocals in a fashion similar to Mulatoh and certain LyCoOx tracks; not quite footwork, but related. Similarly, a whistle - already juggling melody and rhythm - undergoes a change as well. As a result, the diminutive element is able to carry a heavier groove. The batida aspect comes in where the structure is concerned: Introduction-A-interlude-B-interlude-C.
Good, creative effort.
- J.N.
Controversial the above statement is not.
The idea has been touted long before the advent of these pages. Yes, Primus sucks; alas, the Bay Area legends had some transcending words for those creatures of the wild variety. For his part, Roger Waters informed the world that dogs have a firm handshake and an easy smile. Penguins, of course, can dance. And literature, too, has always been privy to allegories. It goes without saying that George Orwell was known not to keep kosher at all.
Regardless of which branch of the animal kingdom one most identifies with though, one sentiment runs deeper than the rest.
It was the urban philosopher George Clinton that said, "Free your mind and your ass will follow;" and just such a sentiment is expressed on the song that follows. Hailing from Portugal by way of Cape Verde, Telvin Timas is an independent beat-maker. Of immediate note, however, are the strong geographical co-signs. In addition to representing his own TF Produções, the DJ in question resides in the municipality of Sintra, city of Queluz alongside AvP's Puto Babaa, MNJ's EdiCerelac, and DDPR's WilliCox.
Where tangible stamps of approval are concerned, though, curious parties need only seek out the recent BNM collaboration, "Beat dos LoKos." The demo is a fast-paced batuco; a style which Timas frequently works with. Alongside Dj Perigoso - for the second time - a bass drum massages the ear drums throughout. Tambourine swings and the hi-hat plays a supporting. Synth samples are very concise, varied and well arranged. Most noteworthy, though, is the dense machine rattle from a digital snare between the introduction and the head what appears to be just as much as a bouncing bass TF signature.
But of relevant interest is the title of the current selection. Titled, "Arrasta O Pato," the song was released yesterday and, literally translated, it seems the producer is suggesting that listeners appropriate the qualities of a mallard. But, with context, the request becomes more sensible. Webbed feet do not seem so bad. The reasoning is simple. A slow-paced song, "Arrasta O Pato" is driven by a snare/kick zouk beak. Two synths carries the run; one bass/harmony the other a high-pitched melody. During the second section tarraxo feel is added as a scraper swings and while djembe fill accent the fourth beats. Lower half, by this point should be prompted to have moved outward as ducks waddle towards the dancefloor. After all, kuduro is the stiff-ass dance music. A third section is added where the melancholy synth is replaced with strings. Critically, however, are two points. First is that each section - introduction included - could be a loop shorter and still have the same effect. Second is the issue of mastering. Although an argument can be made for authenticity and rawness, the author does not feel as such. Where biases are concerned, though, he also acknowledges acoustic instruments would not be held to the same standard.
Straight forward and effective from an otherwise, low-key technical DJ with an apparently high ceiling to be raised.
Notable Mention: Dj MarinO [B.S Produções] - "Sapo"
Similarly, the second selection is concerned with nature.
The only difference is a change from birds to amphibians.
Recently featured, Dj MarinO has continued to ride the wave of momentum he has created for himself. Titled "Sapo," the producer's latest track is a fast kuduro/batida released two days ago identified by subtle shifts. Both labels are given because each corresponds to a different element. Rhythm is driven in equal parts by the bass and, to the author's ears, and indistinguishable metal piece of percussion. Subwoofer frequencies vary from a four-to-the-floor to an Angolan bounce. A frog's ribbit is sampled alongside two other faint vocals in a fashion similar to Mulatoh and certain LyCoOx tracks; not quite footwork, but related. Similarly, a whistle - already juggling melody and rhythm - undergoes a change as well. As a result, the diminutive element is able to carry a heavier groove. The batida aspect comes in where the structure is concerned: Introduction-A-interlude-B-interlude-C.
Good, creative effort.
- J.N.
A Noggle Brain Trust, LLP. website
Wednesday, June 10, 2015
Big Vado [DDPR] - "Funana Demo 2015"
Never correct course.
To be earnest and steadfast is only the sign of a good captain.
Dangerous objects, however, should still be skillfully avoided. Icebergs are chief among maritime dangers; these frigid monstrosities, though, are far from the only threat to a well-meaning, seafaring vessel. Coastlines, just as well as reefs, are stealthy. As such, any and all fermented drinks are to be avoided. Trenches may be deep but the effects of an oil spill run far deeper. And yet, what is most important to note is that Conrad's friend Jim was not always a Lord.
Composure during stressful times is of the essence.
In just such a tradition, the author has made the strong-headed decision to double down. For the past three months there has been a running joke on these pages. Good or bad, long or short, recent or ancient any and all funana tracks seem to be featured. High profile sounds are pushed aside. In lieu of reaching more readers, relevant releases are prematurely preserved. And, as such, the present is no exception.
Just one week removed from the last post of such a nature, some fresh funana has surfaced. Moreover, today's primary selection features the same crew, Djs di Puro Ritmo. Released over the weekend what can be heard below is a dupla. Although, strictly speaking, "Funana Demo 2015," is a Produtor Big Vado track, the tag for Dj BlackinhO can be heard alongside similarities to last week's "Funana Batucada." The bass kicks a four-to-the-floor while two accordions are used for harmony and melody; the latter of which spans a healthy sixteen beats until a teased change near the end. A sole snare drums creates the primary rhythm while a crash cymbal is heard, somewhat irregularly, every couple of bars.
Effective as a sample, likely better as entre.
Notable Mention: MC Capps & Dj EDÝ [B.N.P.B] - "Funana Kenti Kenti"
The follow-up portion, likewise, revisits a recently featured beat-maker.
Unsurprisingly, the funana theme is maintained as well.
As part of his return, Dj EDÝ has steadily been feeding listeners' ears. Last week alone saw two novel releases from the Black 'n' Power Beats mainstay. First - a song, tentatively titled "Preview - Tarraxo - 2015" - is notable on its own. Typically sparse and destitute, the tarraxo in question relies on a hi-hat cymbal as the rhythmic foundation for good reason; arrangement is of the essence. No sound is to be overshadowed. Strings are used both for rhythm and harmony, only to be joined by the lackadaisical strumming of an electric guitar. Plenty of percussion is heard, however, with chains syncopating on the up-beat and additional drums fills maintaining the polyrhythm strong.
But the song below is much different. Released the following day, "Funana Kenti Kenti," sees EDÝ cross some open EU border; joining up, in the process, with a Parisian by the name of MC Caaps. Alas, it should also be noted that "Funana Kenti Kenti" is not the first song of such a nature for which Puto EDÝ is responsible. Like last year's "Funana," what follows is not only busy, but successfully combines the modern with the traditional. As a kick drum carries the grooves, a metal scraper and woodblock syncopate. But the song is question moves fast. Despite the sixteen beat bars, changes rapid and frequent. Suddenly, the succinct accordion is met with a longer, high-pitched synth and the clicks of a digital snare. Structured as Introduction-A-interlude-B-bridge-C-B, the impression is given of producers juggling their verses. Where A and C correspond to accordion and MC Capps, the interlude, bridge, and B correspond to synth and EDÝ.
With enough hot air written to create a new trade wind already, the author will simply say that there is nothing bad to say here.
- J.N.
To be earnest and steadfast is only the sign of a good captain.
Dangerous objects, however, should still be skillfully avoided. Icebergs are chief among maritime dangers; these frigid monstrosities, though, are far from the only threat to a well-meaning, seafaring vessel. Coastlines, just as well as reefs, are stealthy. As such, any and all fermented drinks are to be avoided. Trenches may be deep but the effects of an oil spill run far deeper. And yet, what is most important to note is that Conrad's friend Jim was not always a Lord.
Composure during stressful times is of the essence.
In just such a tradition, the author has made the strong-headed decision to double down. For the past three months there has been a running joke on these pages. Good or bad, long or short, recent or ancient any and all funana tracks seem to be featured. High profile sounds are pushed aside. In lieu of reaching more readers, relevant releases are prematurely preserved. And, as such, the present is no exception.
Just one week removed from the last post of such a nature, some fresh funana has surfaced. Moreover, today's primary selection features the same crew, Djs di Puro Ritmo. Released over the weekend what can be heard below is a dupla. Although, strictly speaking, "Funana Demo 2015," is a Produtor Big Vado track, the tag for Dj BlackinhO can be heard alongside similarities to last week's "Funana Batucada." The bass kicks a four-to-the-floor while two accordions are used for harmony and melody; the latter of which spans a healthy sixteen beats until a teased change near the end. A sole snare drums creates the primary rhythm while a crash cymbal is heard, somewhat irregularly, every couple of bars.
Effective as a sample, likely better as entre.
Notable Mention: MC Capps & Dj EDÝ [B.N.P.B] - "Funana Kenti Kenti"
The follow-up portion, likewise, revisits a recently featured beat-maker.
Unsurprisingly, the funana theme is maintained as well.
As part of his return, Dj EDÝ has steadily been feeding listeners' ears. Last week alone saw two novel releases from the Black 'n' Power Beats mainstay. First - a song, tentatively titled "Preview - Tarraxo - 2015" - is notable on its own. Typically sparse and destitute, the tarraxo in question relies on a hi-hat cymbal as the rhythmic foundation for good reason; arrangement is of the essence. No sound is to be overshadowed. Strings are used both for rhythm and harmony, only to be joined by the lackadaisical strumming of an electric guitar. Plenty of percussion is heard, however, with chains syncopating on the up-beat and additional drums fills maintaining the polyrhythm strong.
But the song below is much different. Released the following day, "Funana Kenti Kenti," sees EDÝ cross some open EU border; joining up, in the process, with a Parisian by the name of MC Caaps. Alas, it should also be noted that "Funana Kenti Kenti" is not the first song of such a nature for which Puto EDÝ is responsible. Like last year's "Funana," what follows is not only busy, but successfully combines the modern with the traditional. As a kick drum carries the grooves, a metal scraper and woodblock syncopate. But the song is question moves fast. Despite the sixteen beat bars, changes rapid and frequent. Suddenly, the succinct accordion is met with a longer, high-pitched synth and the clicks of a digital snare. Structured as Introduction-A-interlude-B-bridge-C-B, the impression is given of producers juggling their verses. Where A and C correspond to accordion and MC Capps, the interlude, bridge, and B correspond to synth and EDÝ.
With enough hot air written to create a new trade wind already, the author will simply say that there is nothing bad to say here.
- J.N.
A Noggle Brain Trust, LLP. website
Tuesday, June 9, 2015
Dj MarinO [B.S Produções] - "Reborn"
Journeys are never mysterious.
By now, the ending is well known.
Even Willie and Merle's road must eventually return to where it once started. The prodigal son in his own right, but not nearly as famous as his patented return home. No further evidence is necessary; or so the author feels. Something not unlike a pattern has presented itself. The world is a cold and vacuous place; and only Penelope's shroud can provide the warmth necessary to avoid cruel and foreign illnesses. Alas, the journey is always necessary. It is not difficult to imagine Magellan saying he would do it all again in an interview from the great beyond
Even the Dhammapada says that "When, after a long absence, a man safely returns from afar, friends and well-wishers welcome him on arrival."
More important, though, is the succeeding passage, which reads, "His own good deeds will welcome the doer of good." For just such a reason, then, the author has chosen to celebrate two triumphant returns. Dj MarinO first appeared on these ages nearly one year ago, and not much since then. Alongside the ubiquitous LyCoOx, this albiguously independent beat-maker cut a genre-bending track with flashes of hardstyle/EDM amidst a heavy afro-house swing. Such was the case with the "Funk VS MoOZart", as well. The classical music composer is heard from, as can be expected, but the track is able to combine not just an Angolan rhythm but some baile funk as well; a sound recently heard on Nidia Minaj releases as well as NedwytFox.
Then, for the first time in 2015, MarinO resurfaced two weeks ago with a song titled "Quebra." While not nearly as adventurous as the above examples, the song is a fast, strong afro-house/kuduro. Cymbals and shouted vocals switch of on triplets although the djembe swing is the rhythmic highlight and marimba steals the show at the end. Additionally, a second song was released that same day. Titled, "130" the song is unsurprising in its speed; albeit tamely subtle. Hi-hat carries the foundational rhythm while skipping the last beat. Shakers syncopate and a distant drum accents the second beats. But this track distinguishes itself in being a batuco. The melody is slim. A similar bassline to the one on the LyCOox track is heard as well as a rolling djembe, which proves to be more than enough.
And then there is "Reborn." Released late last week, what follows in more in line with the experimental vibes from last year's MarinO. Keeping in tune with recent developments, though, the track is of similar, demo length. Yet, "Reborn" seems more developed as well. Following the introduction, the track develops in a straight line and is interrupted only by a brief interlude; a new element added with each progression. In such a sense, the song recalls Black Starz Dj's in the added important each sound takes on. Begining with an afro-house snare rhythm and a quick, punchy bass, MarinO quickly adds a sixteen bar, kizomba piano section. Although quickly eliminated, the ivories are quickly replaced by male vocalization reminiscent of the Middle East and, appropriately enough, 56 Nights. Splash cymbal marks the fourth notes as a Brazil is revisited. Cuica rolling over quarter notes only to be replaced by hi-hat triplets. Djembe fills are ultimately added as the song does not complete a circle so much as create an elaborate parabola.
A very good song, but the download to all three is highly recommended. Certainly a producer to watch for.
Notable Mention: Dj EDÝ [B.N.P.B] - "Estou de Volta"
In similar fashion, another beat-maker makes a triumphant return
Although, granted, this absence was not nearly as long
In the author's estimation the new B.N.B.P. logo is fire. Appropriately, the Dj EDÝ track is just as feverish. Two weeks removed from his last appearance, the young producer has shared kizomba/afro-house track titled "Estou de Volta." The track is far from an instrumental in need of vocals. A quintessential pop structure is absent. Following the introduction, the song progresses A-B-C-B-C-interlude-A-bridge-B-C where the second section is the head and the third is the chorus. Snare serves up the quick, foundational beat as the hi-hat swings and a cowbell-fill rounds out fourth beats. Bass comes to serve the rhythm and melody in equal parts. Synth harmonizes while acoustic guitar carries the melody. A second harmony synth is heard on C in addition to one for melody and some MIDI horns.
All in all, the gunshots at the beginning are merited.
- J.N.
By now, the ending is well known.
Even Willie and Merle's road must eventually return to where it once started. The prodigal son in his own right, but not nearly as famous as his patented return home. No further evidence is necessary; or so the author feels. Something not unlike a pattern has presented itself. The world is a cold and vacuous place; and only Penelope's shroud can provide the warmth necessary to avoid cruel and foreign illnesses. Alas, the journey is always necessary. It is not difficult to imagine Magellan saying he would do it all again in an interview from the great beyond
Even the Dhammapada says that "When, after a long absence, a man safely returns from afar, friends and well-wishers welcome him on arrival."
More important, though, is the succeeding passage, which reads, "His own good deeds will welcome the doer of good." For just such a reason, then, the author has chosen to celebrate two triumphant returns. Dj MarinO first appeared on these ages nearly one year ago, and not much since then. Alongside the ubiquitous LyCoOx, this albiguously independent beat-maker cut a genre-bending track with flashes of hardstyle/EDM amidst a heavy afro-house swing. Such was the case with the "Funk VS MoOZart", as well. The classical music composer is heard from, as can be expected, but the track is able to combine not just an Angolan rhythm but some baile funk as well; a sound recently heard on Nidia Minaj releases as well as NedwytFox.
Then, for the first time in 2015, MarinO resurfaced two weeks ago with a song titled "Quebra." While not nearly as adventurous as the above examples, the song is a fast, strong afro-house/kuduro. Cymbals and shouted vocals switch of on triplets although the djembe swing is the rhythmic highlight and marimba steals the show at the end. Additionally, a second song was released that same day. Titled, "130" the song is unsurprising in its speed; albeit tamely subtle. Hi-hat carries the foundational rhythm while skipping the last beat. Shakers syncopate and a distant drum accents the second beats. But this track distinguishes itself in being a batuco. The melody is slim. A similar bassline to the one on the LyCOox track is heard as well as a rolling djembe, which proves to be more than enough.
And then there is "Reborn." Released late last week, what follows in more in line with the experimental vibes from last year's MarinO. Keeping in tune with recent developments, though, the track is of similar, demo length. Yet, "Reborn" seems more developed as well. Following the introduction, the track develops in a straight line and is interrupted only by a brief interlude; a new element added with each progression. In such a sense, the song recalls Black Starz Dj's in the added important each sound takes on. Begining with an afro-house snare rhythm and a quick, punchy bass, MarinO quickly adds a sixteen bar, kizomba piano section. Although quickly eliminated, the ivories are quickly replaced by male vocalization reminiscent of the Middle East and, appropriately enough, 56 Nights. Splash cymbal marks the fourth notes as a Brazil is revisited. Cuica rolling over quarter notes only to be replaced by hi-hat triplets. Djembe fills are ultimately added as the song does not complete a circle so much as create an elaborate parabola.
A very good song, but the download to all three is highly recommended. Certainly a producer to watch for.
Notable Mention: Dj EDÝ [B.N.P.B] - "Estou de Volta"
In similar fashion, another beat-maker makes a triumphant return
Although, granted, this absence was not nearly as long
In the author's estimation the new B.N.B.P. logo is fire. Appropriately, the Dj EDÝ track is just as feverish. Two weeks removed from his last appearance, the young producer has shared kizomba/afro-house track titled "Estou de Volta." The track is far from an instrumental in need of vocals. A quintessential pop structure is absent. Following the introduction, the song progresses A-B-C-B-C-interlude-A-bridge-B-C where the second section is the head and the third is the chorus. Snare serves up the quick, foundational beat as the hi-hat swings and a cowbell-fill rounds out fourth beats. Bass comes to serve the rhythm and melody in equal parts. Synth harmonizes while acoustic guitar carries the melody. A second harmony synth is heard on C in addition to one for melody and some MIDI horns.
All in all, the gunshots at the beginning are merited.
- J.N.
A Noggle Brain Trust, LLP. website
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