More than a month has passed since the video was released. The lack of complexity inside of those four white walls is perpetual. Nothing is bound to change. A childhood portrait is seen off to the side. The speed with which the fingers hit the glowing monome keys is awe-inspiring. Most telling, perhaps, is the sheer intriguing caused by a tease on behalf of the camera: a computer monitor which shows the track's progression on FL Studio. In spite of following its 700 collective views, though, this YouTube upload retains the same impact as when it debuted. The variety of minute visual details are secondary; simplicity is an illusion. Where priorities are concerned, sound is primary to appreciating "The Art of GangstaZouk"
Listeners are advised not to be fooled by the seeming lack of complication. London's Geomagic imprint is no stranger to dance-worthy sounds of Africa; take their recommendations free of references. Plus, elaborating upon the unelaborate is T-Box's calling card. Residing south of the River Tejo, in the Setubal District of Lisbon, in an area called Seixal (Miratejo community, to be eerily specific), Maschine Killah looks to progress the designed beats around him. The man known to the government as Tiago Moreira is a special kind of producer. Where one set of ears may capture a zouk beat, T-Box sees a chance to instill the digital flare of Southern rap productions. If the standard prefers a kick/snare combination, the "The Art of GangstaZouk" author might decide it is best to experiment with a hi-hat. And what makes T-Box's cannon even more interesting is a collection of noteworthy friends he is able to collaborate with.
This latest single, however, is about sheer confidence in abilities. An introduction that bears two string arrangements provides the required evidence; the transition from a 3&3 to a 4&4 phrase only rubs it in. The track's blueprint hints at the grandiose. "The Art of GangstaZouk," after all, showcases a rhythm with a hand-drum, bass drum, and bell. As a familiar snare roll appears, the suspicion of enormity is solidified. By now this much is evident: this track possesses an embarrassment of riches. The pop structure therein is not representative of the song's identity. Upwards of eight elements are used to transform the ranch-style house into a family compound. T-Box finds elegance of effect in organizing vocal samples, harp sounds, and what appears to be an organ - all of which could stand on their own - into effective supporting roles. My own ignorance prevents me from commenting on prescription. I do not know how magnetic this beat is to vocal accompaniment. However, this much can be said: res ipsa loquitur. The thing speaks for itself, and it is demanding to be heard
- John Noggle
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