Alan Moore is typical the first mental association with electronic dance music and African rhythms. At best Mr. Moore resides fourth on a decidedly crowded list, and shall remain there for the time being. Lest the Watchmen and "Killing Joke" author usurps the crown from the reigning title holder - Carthaginian General Hannibal's ghost - he must come to terms with patience. Glycon has no stake in this battle. The runner-ups, mind you, are just as eager to take control on the crown. For a bearded mystery man to simply waltz into a dance party of mental associations and declare himself king is, for lack of better phrasing, outrageous.
Back within the sphere of reality practical matters still reign. The above mentioned gathering requires a soundtrack if it is to be a legitimate dance party in anyway. Luckily a song composed in tandem by David FoOx and Deejay Shoow appears to fit the theme du jour. Granted, "V for Vendetta," is not remembered for its surplus of Portuguese themed facial attire but the ambition is, nonetheless, noted. As previously heard from Deejay Shoow this is a producer that unrepentantly seeks to create his own style. The joint production released over the weekend is no exception.
The facade struggles with an ambitious interior. The outside is recognizable but the design within is beginning to spill over. Greater intrigue is prompted. Formalities are nearly discarded. What is left behind is nothing more than a welcome mat with two DJ tags and a melody tease for three seconds. As the first portion of the song begins, however, the intent becomes clearer. The typical quick tempo of a 4/4 kuduro beat is implemented; the goal is still to facilitate dancing. A doting bassline is casually observed because not much more is asked of it. What appears next is most surprising: a one-bar chromatic synth line. As the listener is left longing for the second portion of the melody, the synth phrasing becomes shorter at around twenty-six seconds - approximately when the track becomes polyrhythmic. The hand drums create an alluring sense of percussive vibrancy - the interior is now quite lively - while making low-key attempts to engage in harmonic chores. With its identity established "V de vingança" returns to its original rhythm and takes visitors to what amounts to a private section. Hints at semba are shared in the VIP lounge along with a slight bounce in the tireless synth as the song loops back to the first potion. The end is near, but the beatmakers have one more favor before its visitors disperse. A fourth section to the song commences without synthesizer. Vocal samples are suddenly preferred; highlighting the off-beats with glee. No element is used greedily or in excess. The space is shared equitably and giving proper credit where it is due. As the outro begins just a quarter of the way through the second minute, the song's unique structure - A B C A D C - impedes timely exits. The needles must be pulled - this is a very good song that should be heard again before the 5th of November. This is not an historic construction, but it is hard to dismiss its upside; even without gunpowder, treason, or a plot.
- John Noggle
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