Puto Tito [C.L Recordz] - "Não a Silencio" & "♦"

Political theater is not limited to the principal place of legislative passage; lest, of course, senators bring knives to a word fight

Note that lede is far from an endorsement. None of the following actions should be performed. Still, the author feels this specific statement is in order: Do not make it rain at the New York Stock Exchange.

Sure, Nero prominently uttered, "What an artist dies in me," but the art of politics hardly passed with him. For what is an actor without an audience, a politician with the citizenry? Yet even the authority figure might be expendable. Sometimes the only actors required and a couple doctors and a few tents as the venue. But regardless of tactic, no one will ever achieve the level of notoriety established by the one-man version of Greenpeace, Tito Kayak and his many feats of climbing/political activism.

Unfortunately, perhaps, today's subject is a different Tito.

The man behind PT Musik nine miles from Lisbon. And not only does PT reside outside the capital, but in order to find him one must travel south of the River Tejo. There, out on the Casta da Caprica, is Puto Tito. An independent producer - though distantly acquainted with C.N - PT is a prolific track re-post'er and beat-maker. In doing so, PT promotes his aspiring label C.L Recordz. But where Tito's music is concerned, the following conclusions are to be drawn. First, PT is partial to slower beats; zouk to be specific. The odd tarraxo can also be heard, but the style is simply not as common in this canon. Second, Puto Tito is not shy about using synths. Typical and more traditional melody instruments are also heard, but once again, not as frequently. And third is this assumption: PT Musik is looking to progress into a more percussive sound, as is heard on his "Botão."

Of honorable mention is the protruding quality of Puto Tito's bass. Far from a bass musician in the style of Dj b.boy, Tito nonetheless leaves an imprint on the scene and the listener. With an unremitting force, Tito's bass is best taken straight into the bloodstream so as to make the bones rattle. Commitment to these songs is pulled out of the audience via bass.

For all of the above reasons, then, what follows is out of the ordinary. To begin, the bass is absent; in its place a 4/4 kick drum. Clocking in at a cumulative sixty-seconds - adjusting for a three-second intro -  "Não a Silencio" might very well be the precursor to a larger song. Of additional note, however, is both tempo and style. What follows is a batida. Composed of two beats, "Não a Silencio" the first half of the track resembles a batuco followed by a techno feel not unlike KarFox. Despite an all around bare song, the melody is carried by a chain-like element similar to what K30 used recently. If nothing else, seeds of intrigue.




Disregard the title. After the jump readers will not find a new Prince song with a senselessly long title. Be that as it may, judging by the name stylization, Puto Tito has an affinity for playing cards. The result is a track titled "♦." Much like the previous number, "♦" is neither slow nor full of bass. As would then be expected, "♦" is a bare track.  A 4/4 kick-drum habitating where the bass should. Instead, listeners will hear a collection of horns and drums.  Look elsewhere for added complication. Of note, however, is that the track is influenced kuduro. And while "♦" may very well be a work in progress, the timbal break just past the halfway mark is exciting in and of itself.

- John Noggle