Where cliches are concerned, sequels are rarely, if ever, better than originals.
Fortunately, what follows is not the phantom menace, per se. Think of it more as a springtime for Hitler curtain call; unexpected and, for the most part, a lovely surprise.
Following the embarrassing revelation of a certain author's lack of attention vis-a-vis TMP beatmaker LycoOx, some modest reflection was called to order. It turns out the incident did not occur in isolated. Dear readers: errors have been made. Worst of all, neither "bitch settin' up" nor "drunken stupors" stand to blame. Luckily, where past wrongs have been committed a chance for redemption still exists.
Has B-Side A-Hole tried having a love affair with Firma do Txiga? Yes. But is it an addict? Certainly a good question; and one that lacks a decisive answer at this time. Consider an autumnal creative push in which a Txiga track...or two...or three - or, honestly, a figure closer to a dozen - were missed. Surely, this is far from the behavior befitting of a writer in lust. Especially because the most active among these Djs has been the crew's leader, Puto Anderson. In the past five weeks, "Anderson Walker, Texeira Ranger'" has released a total 10 tracks. Among these works are two remixes, a number of 'brevemente' tracks, collaborations, and solo beats that have been equally as diverse. What can be found below are four outstanding selections dating back to September 20th.
After brief a respite and some batuco experimentation, Texeira Ranger returned to the scene just over a month ago. Where making impact is concerned, absolutely no time was wasted. Anderson made his presence known a roundhouse kick in the form the tarraxo titled "DominGo de Paz." In terms of innovation, the song is rather tame; apart from an indefinable melodic element that sounds almost flute like. The beat is driven largely by a kick-snare-hi hat combination that creates two distinct patterns. What "DomiGo de Paz" succeeds in, however, is refinement. Once the head is established the track grows effortlessly with a total of three syncopated vocal samples and three additional percussive elements
The next song of note comes a month later; two weeks removed from the time of this writing. A batuc titled "Modo Safado," the similarities with "DominGo de Paz," begin and end with their equally slow tempos. Yes, the Texeira template is followed - ten second intro, very brief outro, and drum patterns - but "Modo Safado" has an identity all its own; beyond even the brief use of accordion. Drum wise, the song is reminiscent of Black$ea Não Maya's "Voçê é feia." Not only does Puto incorporate a floor tom into the foundational beat, but the snare which appears later ends its phrase with some rolling flare. The coup de grace, however, remains the dual bass. While a "wet" almost NorCal/hyphy sounding element carries the melody - as a some higher pitched synth harmonizes - a six part base trudges between the percussion.
Three days later: a return to tarraxinha. As with "Modo Safado," progression can clearly be heard throughout. The innovation on "TarraGuetto," though, begins with structure. Bypassing the usual format, this FT Produções release more closely resembles Casa da Mãe that its own back-catalog. The redundancy of an intro followed by a head is discarded. Instead, the song proper begins immediately. Where other CDM similarities are concerned, similar "global" synths are retained from "Modo Safado." The harmony is bouncily held down while the melody is usurped by some more straightforward keys. Moreover, throughout its two-minute duration, "TarraGuetto" draws more and more sounds into its ranks. A hi-hat/kick combination provides the underlying rhythm, just as it source for two different beats. Digital drums, however, are also incorporated. Vocals are a central point here as well, but to its credit the voices on "TarraGuetto" are call and response. Astonishingly, the song does not sound nearly as bloated as this description makes it out to be.
At long last is "Rapicada." Three days after "TarraGuetto" hit the web, Teixeira returns to the Puto Anderson standards of operation. But perhaps this is an over simplification. After all, "Rapicada," resembles a pop song in form more so than a Txiga track. Alas, none of this matters. Consider the reason: first, "Rapicada" is an astonishing song. Second, what can be heard below is a funaná; the first release featuring this particular Cabo Verdean genre within FT's oeuvre. The basis for "Rapicada" is an affectionately addicting two bar accordion sample. Beat-wise, sections differ on whether or not a scraper is heard. Yet, if any portion of "Rapicada" can be deemed to be a showstopper it most certainly would have to be the silken bass. Nothing short of required listening.
- John Noggle
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