Four Remixes for "Botão"

Martha was great, but the Vandellas were better.

Power is in numbers.

The same principle applies to parties, too. Whether indoors or outdoors, guests should go forth and multiply; rule over the sea and the sky. Hopefully Diana brings her Supreme friends. The motown the merrier. But what is for certain is that a timely entrance is key to any gathering. Arrival is best when dancing is happening across all matter of streets. In the mean time, plenty of heat is necessary to keep party-people occupied; and due to generous contributions, sufficient gas is available provided.

All praises to Karlitera, bringer of propane and propane accesories.

It may be a number of months old now but, "Botão" still carries a punch. A surprisingly simple song, several sensations succumb to its sounds. The tracks bumps. Joy, therein, is found in much the same way the contents of a punch bowl are prepared: primary ingredients differ little from case-to-case because the real secret is in the spiking. Consider Dj Padux. Once the bass begins counting out the number of New Testament gospels, z full barrage of elements plays: two synths, two pieces of percussion, drums, bass and vocals. And not unlike religion, a certain ambiguity is left. Room for interpretation is ample; unsurprisingly a number have sects have already begun their attempting to turn the punch into fortified wine.

The first nail on the list of reforms is Dj Willicox. Released two months after the original video, the L.S beatmaker re-imagines the track in a more kuduro image. Once the new synth is established rhythm kicks in. While loud, the Willicox works with a different set of tools: kick drum and snare. Furthermore, each element is exacerbated (see: bell is heard, but in new spots). But changes are not limited to rhythm. Flute and horns are added. And most impressive is the manner in which Willicox organizes the number. Selecting the vocal portions best suited for his remix, the resulting "Botão" is given an entirely novel structure by the Dj; the song looping once as a whole.



The following dissenter comes from the oft forgotten, fringe element known as DJs di Puro Ritmo. Two weeks after Willicox, Produtor Big Vado causes a schism. A full three minutes shorter than the original - and sixty seconds more brief that the L.S equivalent - Big Vado also re-creates, "Botão." But, for instance, during the introduction a djembe plays the fill as the three beats that should precede it are curiously absent. Instead, a flue is heard; meanwhile two separate vocal tracks are overlap. Creativity is afoot. Initiated by a strong kuduro rhythm, Vado shows a desire to make his remix even more "afro." Percussive reinforcement arrives after the head, and then Produtor then finds the cut.  Flutes end on high notes - the beat begins to batir when drums play triplets. Interestingly, Vado structures the track as A-B-C-B. But of greater intrigue to the listener is the bass as a death knell. Very, very good.



Conservative voices are bound to speak up. Change is a scary possibility; such is the nature of the human psyche. Alas, an awakening overdue. Appearing in the the form of  a MixBwÉ song about a month ago a necessary perspective is proovided. After all, one might be ought to recall that "Botão" is very much popular, as well as dance, music.  MixBwÉ does not lose sight during this re-imagination - "Botão (Cassanova tracks)" plays the part well. In organizing the remix as Chorus-Verse-Chorus-Bridge-Chorus, the man behind Avessos Recordz drives attention to the main draw. Botão may be repeated with devilish frequency, but the remix's anchor is the Karlitera's sole verse. Otherwise, a snare-only kuduro beat plays. Bass takes two forms, but is overshadowed by the dual purpose accordion. While not terribly adventurous, fire and brimstone provides a nice hook.



Two Great Awakenings later, the flock is left without direction. Are forty more years in a barren dessert inevitable? Far from the case, a leader emerges. The church may be less than orthodox, but the attention provided to details is much appreciated. What follows is not unlike a megachurch. Released just a week ago by another resident of Lisbon resident named LeoBeatz, what can be heard below is a re-fix of "Botão." The similarities are resounding. Beginning with its duration; by far the longest of the three and the only one that even surpasses three minutes. In doing so, no amenity is denied. Cost is of no importance. If the goal is to create an elaborate afro-house track, LeoBeatz succeeds immensely. The mere fact that a hi-hat beat is preferred is of zero importance. After the two introductions - including the original's monologue -  the head plays. Suddenly, and without, warning a dubstep interlude breathes the fury of God into listeners before a return to the head. Flute, flute synth and percussion all enjoy a solo, though they each vary in length. A very strong effort., though decidedly "gimmicky" for the author's taste.

- John Noggle