Sadly, the inevitable has happened once again.
Bill Murray has been allowed back into the state of Pennsylvania. In spite of the 1993 Harold Ramis documentary - one which chronicles the decidedly negative effects of weathermen and groundhogs - Murray failed to heed warning. Only making matters worse, the city of Punxsutawney is his established destination.
Frankly, this beloved comedy actor and part-time sports psychologist should know better. The effects of this conundrum are only further compounded because Murray should know better. Not once in the past four decades has the Second City alumni collaborated with a furry, ground dwelling creature and escaped with a positive tale.
Of course, the above is only partially true.
Yes, the predictable has once again occurred. Just make sure to note Bill Murray, as well as the resulting story detailed, is decidedly fiction. Fret not, though, the theme remains the same. The subject has changed but the replacement is that much more familiar. Once again, the author has overlooked the output of an adept musician. The result is a full month passed; the victim is the two EdiCerelac found below. But, as in any tragedy, the upside must be found. For one, the Mãn Juh leader and his exploits have already been chronicled. So before the sun rises, and the day remains unchanged, let the song be examined as the Buddha's words resound, "Let go of the past, let go of the future, let go of the present, and cross over to the farther shore."
The cataloging system is absolutely cryptic. EdiCerelac, it seems, assigns numbers to songs as he wishes. Still, the songs remain unaffected. A batida with hints of batuco, "Pesadão" stays the course as does beat-maker's preference for faster tempos. In respect to unordinary instrumentation, hi-hat is more prevalent that snare; but listeners must wait until the final section to hear the showstopping drum. Alongside the synth heard in the head, another appears with four notes and a hitch during the second section. Most intriguing, though, is the over-organized A-B-A-bridge-C-A structure for a song that fades-out short of the two-minute mark.
On "Cristina S2," the instrumentation is largely the same. Two synths remain the bedrock. Instead of horns, though, a piano is drafted. Yet the identity of "Cristina S2," is entirely different from "Pesadão". What follows is a slow song. The tempo, however, is expendable seeing as the Dj has worked the more subdued end of the spectrum before. Nonetheless, EdiCerelac's beloved snare reappear and in doing so a zouk beat results; just as much a novelty in the Mãn Juh catalog as a song eclipsing the three-minute mark. Observational nuances aside, "Cristina S2," is a good song with a deep groove. Albeit briefly, the aforementioned piano plays captivatingly disjointed in the second section. The second synth - a staple of the song's latter half - also possesses a unique, formless marker.
Not even the passage of time - or lack thereof - can make an EdiCerelac song unappealing.
- John Noggle
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