Society has no definitive place of worship.
Entertainment venues have become the center of faith in a secular world.
By their very nature, the events have a social ethos. While personal fulfilment may very well stem from self-enjoyment, by merely being present an individual has engages in a larger responsibility; in the process becoming a part to a whole. For all intents and purposes, concerts, movie screenings, and art exhibits are all the same as enjoyment extends beyond the confines of each body. The power of people, together in a room and sharing a common interests, is the real event; a spectacle within the spectacle where the present share in a moment of time that cannot be identically replicated.
All of which is a long-winded rouse.
The author's intentions are covert; and selfish to boot. Alas, he insists on sharing a memory from his childhood. Despite growing up in the comically dysfunctional Commonwealth of Puerto Rico, many utilities common to the United States function in much the way. Toilet bowls flush clockwise. Televisions and radios broadcast content in English. But most importantly, motion pictures showcase a slew of advertisements. Unique to this tale, however, is a commercial that took on a life of its own. The Harris Paint song is good. Percussion is a plenty and the vocals originate deep within the spokesman's body; listeners' fingertips become numb in accord with the heartstring plucked within them. The song eventually became more than a hokey jingle. Integral to having grown up on la isla del encanto during the 1990s is an ability to recounta version of the tale in which an entire theater halls stood up to sing their country's second and unofficial national anthem.
Much to the author's chagrin, this legacy of superb soundtracks for paint based visuals continues.
The scene is still for only one moment. Within the first five seconds, the bass on "Da Favela" starts to shake and paint, engages in a dance with destiny.
What follows is the collateral damage; a cut from the Klub Bangerz mixtape released by Badcompany two weeks ago. Based out of Angola and Portugal, the group consists of Prodigio, Monsta, Deezy, Anyfá, and Sanger. The record is diverse. A variety of genres are heard, and they change with frequency. A random selection is just as likely to be a tarraxo or kuduro as it is to be Southern flavored hip-hop - further accomplished with a combination of Portuguese and English lyrics. Badcompany even performs zouk; having coincidentally choosing T-Box's "The Art of GangsaZouk" as the beat for their track "We Mobbin."
But the song with the chemical hypeman is different. Galaxie, the producer behind "Da Favela," has only one beat to his credit on Klub Bangerz. Be that as it may, the song in question is significantly superior to any song assigned with runner-up responsibilities. The beat is equally indebted to grime, kwaito/kasirap, and hip-hop, so it only seems fitting the title feature a term of Brazilian origin. Video-wise, images are captivating for a moment; musicality is the strong suit of this subject, though, and the track in question is persistently mugging for attention. In stark contrast to most popular music, "Da Favela" does not feature many drums, if any at all. Galaxie instead creates breakbeat rhythm with vocals alone as bombastic horns dually supports the rhythmic role and leads the melody. The bass is sparse. A strong track assisted by a different sound, the most notable contribution is the most innovative paint application technique since the number 31
Inevitably, the above track has been remade. Slender by design, a permissive force in Badcomany's original song is the power in absence. Blank space is left throughout the canvass. As a result, creative types cannot help to be drawn into the trap. Two such Djs are SuaviiCox and kingfo0x of Black 'n' Power Beats. As is the case for past SuaviiCox, the remix artist has found a conspirator and together the pair re-imagines "Da Favela" in light of a new style. Galaxie's minimal beat transforms into a batida. Immediately noticeable are the drums - kick and snare - with marimba soon to follow. The same structure is retained, even though the introduction cuts directly to the chorus. With the vocals comes the main snare/hi-hat rhythm as well as a new a new vocal sample and percussion in order to syncopate. Good over all; an enjoyable second feature.
- John Noggle
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