If assumptions had their way, every guess ever made would always be wrong. In this world, inhabitants devolve to nothing more than a collection of the most socially advanced assholes in the galaxy. Imagine mankind in a constant state of elation, fueled by nothing more than pride and ego, yet woefully incorrect 100% of the time. The tragic inevitability of human foresight in a world ruled by one word. All people are sentenced to the realm of wrongness - in absentia and perpetuity - but doomed to forever think otherwise. It has become clear: only one solution exists. Today's Noggle Wisdom goes without saying, go forth and highlight the definition of assumption in every dictionary with a black, chisel tip marker.
Now that the heavy lifting has been addressed, some entertainment is in order. Luckily, a song is already queued. My decidedly wrong shot in the dark aside - the song's title may reference Babylon, but not a single allusion to Jah is found - the new composition from Deejaý WeLiiFOx will do just fine. "Dos Babiloniia" is accessible because it does one thing well: combine electro-house with kuduro. The result being something akin to Afrohouse, which mind you, is not an originally coined term.
While electro-house may very well conjure ideas of a specific aesthetic - a variation of house to fit casual palates - WeLiiFOx meshes its intentions into the beat. Kuduro has the blinders on in respect to its dance-floor focus. Electro-house sets its sights on generating an emotion, a feeling, a not-altogether drug-free feeling of ecstasy. The distinct genres, in this sense, are complementary and listeners must only wait through five seconds of a descending synth arpeggio in the intro to revel in the 4/4 bass that underscores the song's kuduro rhythm. As soon as the percussive cue plays, the head of the song begins; oddly enough, almost in stop-time. The identity of the melody is not obscured in the least bit, and for a brief moment the bass becomes dynamic, subtly drooping for effect. All the while, the song is a testament to variety. Few unique qualities are added to the track from this point forward. Its contents are merely altered. As soon as the sixteen second mark hits, for example, the synth phrasing becomes shorter giving the audience a feeling of altering the tempo, as vocal samples barely register as more than mumbles The rhythm's consistency is left unscathed. That does not mean the beat does not change. The high pitched wails become even shorter as a zouk beat takes the lead until the outro; a loop of the song's head. This is a fun song, some may even say a guilty pleasure. But the price of a free download is very much difficult to argue with.
- John Noggle
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