LyCOox [TMP] - Three Songs

These pages have not been kind to LycOox as of late.

The last time Tia Maria's jack-of-all -trades was featured here, the date was August 8th. Baseball season was in the midst of its dog days. Ebola had hardly breached the borders of the Great Republic of Texas. August 8 was so long ago, that Obama had not yet declared a speech against ISIS.

If one were to search, however, for the last time LyCoOx was featured here as a solo artist, results would come up...thin. Since approximately never has a LycOox original received a write-up; and not because it had not been merited. At one point a LycOox remix did sneak its way into the "Puxa Puxa Larama" post. But hardly should a 0:38 teaser excuse this transgression.

If for no other reason, the author's conscience weighs particularly heavy today. Not only is LyCoOx a particularly prolific beatmaker, he also happens to be rather formidable at it; DJ Descartes produces therefore he is. Worst of all, some fun may have been had at LycOox's expense. The nickname "Dance Mamba" may have recently coined. In another notable instance, the TMP producer was likened to a certain Fresh Prince character. Indeed, a LycoOx retrospective is in order. In the mean time, though, enjoy a sampling. Below are three of the better tracks LycOox has released in the past ten days; or 33% of the relevant corpus.

For the sake of objectivity, the author did leave a comment for the track below reading, "ótimo <3." Released nine days ago, "Sobrinho Da Maria" is a short (1:20), fast-tempo, heavy kuduro. Oddly enough, the track opens up with a guitar and what sounds like an mbira variant. Neither instrument is unexpected; their use, though, is not frequent. A paltry track overall - rhythm confined to a kick/snare in addition to one peripheral piece of percussion and the odd cymbal used transition - it is nonetheless imaginative. Particularly imaginative is the use of  piano to play rather than, well, actual bass. Attentive listeners will also hear a drum fill normally used as a cue instead become an element all  its own; not to mention the drum fill on 1/8 (1/16?) notes near the end. Also of note, good harmony between guitar and synth. A good dance-floor track from the second most popular song featured.



Three days later, a much better song surfaced. Inexplicably "Ngulo & Cachiko" - an album-length batuco with two beat - sports half the plays that "Sobrinho da Maria" has towards its credit. For the duration of the track, an ambient synth assuredly adds texture to a dynamic song. In addition to exemplary hi-hat work, the song's is made of up a drumkit and traditional drums alike. The main attraction, however, does not appear until the second section, right after a brief interlude. As the cymbal takes a more kuduro like appearance, alongside a new, consistent drum, LycOox's flute plays its role. Only one criticism is merited: the nearly minute long outro. Much to its favor, though, the beat is quite good.



Finally, readers will find the most popular song of the bunch below. Released just this past Monday, "Tia Maria É A Vida," is accurately titled and merits any attention sent its way. Whereas "Sobrinho da Maria" and "Ngulo & Cachiko" can be characterized as minimal by all metrics, "Tia Maria É A Vida," is lavish and extravagant. Formulaically, the intro lasts fourteen seconds (go ahead, check the previous two songs) Ater pleasantries are exchanged, though, all bets are off. Built around a head, 'A', the song is structured as such: Intro-A-B-A-C-bridge-A-outro. Virtually nothing can be written about this song that the good DJ does not express with a sigh of relief at 0:55. The disparate piano as bass movement - heard on "Sobrinho da Maria" - effectively continues on "Tia Maria É A Vida;" that is until an actual bass makes a grand presence during the bridge, proving the song to be more than just looping parts. Poetic waxing about the synth harmony and xylophone melody are certainly merited. But playing the song on repeat will do it much more justice.

- John Noggle