Casa de Mãe has been prolific. Associates near and far - sounds common and uncommon - have found their place into ten different releases since July. The workshop, as it were, is humming with busy computer fans. And though the summer will die down sooner rather than later, CDM has given no indication that their brand of heat will go through the motions of a year end respite. In which case, the ever more frequent collaboration between CDM mavericks LiloCox and MoBoOku deserves a healthy share of the acknowledgement this cadre is due.
A new MaboOku x LiloCox track is predictably unpredictable. The listener, the dancer, and the casual passerby, though, can anticipate one consistency because quality is the undeniable signature of this production crew. Beyond that not much more can guaranteed. However, the reason need not be ambiguous. All collaborations differ; some reinforce strong points while others compliment deficiencies. But the musical camaraderie between LiloCox and MaboOku seems to be different. As of late, when this tandem jumps on a track together the beats transcends easy categorization; an air of mutual challenging is heard. More slack is sought within their styles. The creative heart refuses to limit itself to templates and standards, and the songs below are, if nothing else, a testament to the sentiment.
Form-wise, neither of the tracks is radically different from the recent slew of CDM songs - an intro and an outro bookending the song's large, wholesale body. "Tamborzão" is no exception, as it even resembling "Wuoh" in aesthetics. Within the intro vocals that call, and vocals that respond are. What this song accomplishes, though, is furthering CDM's 'novo estilo.' Drums, drums...everywhere! As the floor tom and bass drum play the foundation, peripheral percussion appears. Before the mid-tempo song has even started, a maraca and clave create richness in accommodation. "Tamborzão" has semblance to a kuduro, but is more reminiscent of a batida even if neither is a sufficient description. By slowing down the tempo MaboOku and LiloCox are able to add more elements; more rhythm. Forget the melodica - which interestingly enough ends its bar on a high note - because once the straight beat of the timbal starts the duo will not cease until the audience is lost in the rhythm
"Renato Xtrova (Original)" is the more technically proficient selection. Not unlike Puto Anderson's "Fodência KamaKamasutra," the producer plays with the effects at his disposal as the drums warm-up . A drum-fill marks the beginning of the track proper. What follows resides somewhere along the border of kuduro and afrohouse. As it turns out, though, the delineation is unreliable at best, and similar to the population of a World Cup winning country, synthesizers procreate shamelessly. After a few taps on the crash cymbal, the harmonic synth becomes two-fold. A marimba's presence is felt. At which point MaboOku jumps on the track. Chaos ensues. A snare roll joins the beat, the melodic synth ambly solos, and the marimba plays along for effect. A four to the floor bass returns the track to air of normality during an interlude. Predictably, though, it is short lived. Everything, save for percussion and harmony, takes a break. The timbales prove to be a poor influence because a exercise in percussive proficiency ensues. By the time "Renato Xtrova (Original)" returns to its head, the song's biggest accomplishment is discovered: seven to eight elements are used, but the impression is of much wealthier track that has instead exploited it's 3:22 economy to its fullest potential.
- John Noggle
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