Dj b.boy [TMP] - "Não Vacila" & "Lágrimas"

Against the author's better judgement, words akin to a lede are presented below.

The reason for resistance is thus: Dj b.boy has been, and continues to be, on a tear. Since Summer's end, this beat-maker has not released a single unsatisfactory tune. Yes, b.boy is just one of the Djs that make up Tia Maria Produções. But the good Producer's output merits comparison to the larger corpus of Lisbon based producers. Where frankness is concerned: b.boy has discovered a formula, and it works well.

Regardless of context, the material is exemplary. Granted, b.boy's sound is closer to global bass than his contemporaries. Still, b.boy is no mere derivation. This is not a Dj produced from a recent reduction of popular taste. Soft textures and rounded kizomba corners hardly dull any track's edge. Instead the flexibility to work with pop sensibilities is only bound to develop is wider audience base.

Surely the author's intentions stop short of decrying water treading in a pool of creative stagnation. Moreover, to say b.boy's output has been good overlooks he has been consistent. In a sign of growing comfort with bass frequencies, more deep melodies are found therein. What follows is not exception to this growing standard.

Released two weeks ago, "Não Vacila" is a slow batuco with tarraxinha tendencies. Of miniscule, albeit intriguing, importance is a sound made by b.boy's voice. It is on "Não Vacila," after all, that b.boy adds a new adlib/tag to his stable. In addition to, "Já não vamos á morrer" listeners can expect to hear the Dj himself shout "Boom!" Though easily dismissed, the solitary word provide a cue; otherwise adding a certain 'pop' between sections without a crash cymbal. Content wise, the track is surprisingly sparse by TMP standards. Two vocal samples engage in call and response while the kick-snare beat carrier on. Close to "Italiana" in duration and concept, "Não Vacila" is ultimately an experiment in minimal changes. Other than a slight percussion adjustment and a brief fit of stop-time the song remains largely unchanged.



No exact address is listed for what follows. Instead, directions can be provided care of some familiar landmarks. The track in question, after all, resides somewhere within the Venn Diagram of tarraxinha and kizomba. For all intents and purposes, then, "Lágrimas" can be classified as a kirracho. As was the case with "Lips," the tempo is slow. But while listeners will not find any flamboyant drum patters. Rhythmically the song is quaint but qualitative kick-snare-hi hat. In place of percussive elaboration, however, are a collection of synths; three to be precise. The structure is predictably pop friendly as well: verse-chorus-verse-chorus-bridge. Despite the elaborate melodic creation, the bass is not ignored at all but neither does it overshadow b.boy's other accomplishments.

Ultimately, the streak continues.

- John Noggle