"Cryin' won't help you, prayin' won't do you no good,A zombie apocalypse not merit any planning. Being the work of fiction, a solution can easily found in the heat of the moment: seek help at the residence of George A. Romero.
Now, cryin' won't help you, prayin' won't do you no good,
When the levee breaks, mama, you got to move." Led Zeppelin, Led Zeppelin IV, "When the Levee Breaks"
Surely a long legacy in the field story-telling has prepared the man for a world overrun by flesh eating corpses freely roaming the land. The 'deadfather' seems like any idea man.
Floods, however, are the polar opposite; faster moving and unpredictable. As with a tsunami, floods cannot be outrun. Worst of all no time can be spared. Every action must. What ever will be the solution? An initial inclination might be to rely on FEMA, then memory kicks in. A likely second reaction might be to turn towards the authors of the above. At best an answer can be found by playing "Stairway to Heaven" in reverse.
Theorizing aide, the at the present time the levees no longer stand. So maybe partying will help?
After all, the current flood is different. Rather than water, it is a tidal wave of sound rapidly approaches the shoreline of attentive ears. The power is much too strong for mere mortal strength and these pages are no exception. Karlitera's "Botão" is an enviably a good song. Further emphasizing this point were four remixes of the song. This is the forces the rains began rain can be said to have started.
A deluge would soon to follow.
First up in a proverbial weather system of releases this past Sunday was the combination Dj SuaviiCox and Dadifox. On the joint below, the producers come together on a remix for the second time this year. Important to note is that neither of the beatmaker is a stranger to kuduro. The song below is no exception. A re-fix track (on the Noggle spectrum of remixes), what follows is built around a simple horn riff. Cut-up and altered throughout, traces of afro are heard in addition to the trumpet. The bass is a chameleon; a four to the four groove appears but is not present for long. A novel rhythm made of up claps and hi-hat is heard as well. Non-obtrusive over all, the beat itself compromises between overbearing and unassuming, allowing for a backloaded batida section replete with djembe and tambourine. Further driving the point home is the pair's altered structure. SuaviiCox and Dadifox give "Botão" a shuffle. The original's sole verse is dissected for different a second section thereby creating the illusion of additional content.
The Sunday torrent continues, but the following producer takes a more traditional approach. As with the previous track, Yudifox re-forges "Botão" into more concentrated form but rather than change styles, the DJ improves upon the original. In an afro-house manner is the song elaborated; the beat may be identical but new drums are used and the vocal sample is moved. The result is a fine afro-house extract, potent and pure. During eye of the storm a shekere, scraper, and djembe all play a part. But the real change occurs much sooner. Following a sixteen-bar introduction, this Yudifox re-fix makes the chorus central to the develoing track. An accordion is used for melodic purposes, but of greater interest is the placement of Karlitera's about halfway through the song. Alas, the result is effective. Listeners are given a new beginning as a rainbow appears above bridge.
The water metaphor must briefly subside.
Black 'n' Power Beats' Puto Helder has chosen a horrifying - yet accurate - picture for his version of "Botão." Upon the invitation is an unspeakable image. Be forewarned the NSFW-ness cannot be unseen. Even Kurtz would flinch.
But as with dark hearts and exotic raves, the accompanying song merits discussion. What follows is a kuduro worthy of exposing all dignity, and from the onset effort is evident. PutOo Helder begins with an ominous synth that fails to ever reappear. But the introduction also contain two very clever false starts before the song's body begins. Three sections loop once. Three distinct section are heard - Karlitera's chorus appearing in two of them - as well as a bridge. While Puto Helder bases the melody on his re-imagination melody around a MIDI horn and marimba, a faint synth can be heard in the midst of singing. The rhythm is curiously constructed with ride cymbal - which is also the source of transitional cues - and a wood block as a vocal sample syncopates.
Rain is just as much the source of sorrow as it is for life.
The final track (for now?) is also courtesy of BnPB, Dj kingfo0x follows suit with a kuduro, which also happens to be the shortest song of the bunch In contrast to Puto Helder, the beat below is constructed with the typical snare and hi-hat. Similarly, however, both producers sample only the chorus. But once the introductions subside, and the two false starts within them have concluded, the similarity between the tracks comes to an end. Each song repels the repel like charged magnets. More "beat" than "song," kingfo0x essentially recreates "Botão." Short samples of just the word botão - sometimes preferring simple syllables thereof - are scattered from beginning to end in a dynamic pattern in a manner vaguely reminiscent of juke. Regardless, the introduction also features the song's main attraction: a tweaky, off-beat one-bar guitar. Two harmonic synth notes are faintly heard as well, although they would benefit from a boost in volume. Bass might very well be negligible. So instead, additional percussion is provided in the form of triplets by the distant sound of what appears to be rudimentary engine.
- John Noggle
The Sunday torrent continues, but the following producer takes a more traditional approach. As with the previous track, Yudifox re-forges "Botão" into more concentrated form but rather than change styles, the DJ improves upon the original. In an afro-house manner is the song elaborated; the beat may be identical but new drums are used and the vocal sample is moved. The result is a fine afro-house extract, potent and pure. During eye of the storm a shekere, scraper, and djembe all play a part. But the real change occurs much sooner. Following a sixteen-bar introduction, this Yudifox re-fix makes the chorus central to the develoing track. An accordion is used for melodic purposes, but of greater interest is the placement of Karlitera's about halfway through the song. Alas, the result is effective. Listeners are given a new beginning as a rainbow appears above bridge.
The water metaphor must briefly subside.
Black 'n' Power Beats' Puto Helder has chosen a horrifying - yet accurate - picture for his version of "Botão." Upon the invitation is an unspeakable image. Be forewarned the NSFW-ness cannot be unseen. Even Kurtz would flinch.
But as with dark hearts and exotic raves, the accompanying song merits discussion. What follows is a kuduro worthy of exposing all dignity, and from the onset effort is evident. PutOo Helder begins with an ominous synth that fails to ever reappear. But the introduction also contain two very clever false starts before the song's body begins. Three sections loop once. Three distinct section are heard - Karlitera's chorus appearing in two of them - as well as a bridge. While Puto Helder bases the melody on his re-imagination melody around a MIDI horn and marimba, a faint synth can be heard in the midst of singing. The rhythm is curiously constructed with ride cymbal - which is also the source of transitional cues - and a wood block as a vocal sample syncopates.
Rain is just as much the source of sorrow as it is for life.
The final track (for now?) is also courtesy of BnPB, Dj kingfo0x follows suit with a kuduro, which also happens to be the shortest song of the bunch In contrast to Puto Helder, the beat below is constructed with the typical snare and hi-hat. Similarly, however, both producers sample only the chorus. But once the introductions subside, and the two false starts within them have concluded, the similarity between the tracks comes to an end. Each song repels the repel like charged magnets. More "beat" than "song," kingfo0x essentially recreates "Botão." Short samples of just the word botão - sometimes preferring simple syllables thereof - are scattered from beginning to end in a dynamic pattern in a manner vaguely reminiscent of juke. Regardless, the introduction also features the song's main attraction: a tweaky, off-beat one-bar guitar. Two harmonic synth notes are faintly heard as well, although they would benefit from a boost in volume. Bass might very well be negligible. So instead, additional percussion is provided in the form of triplets by the distant sound of what appears to be rudimentary engine.
- John Noggle
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