No perfect beat exists; it never has been and it never will be.
Flawless radio records are an illusion. Musicians must be urged to put down the Shakespeare. The present is nothing more than a dreamscape of soul-sonic sounds where boats are rowed and women stream gently, merrily even, across the dance floor. With any luck, the limpid lives of rhythmless of men are lovingly levied onto a new plane. Yet, the search for an idyllic beat is for naught. Perfection is proves to be perfectly elusive.
Like the myth of El Dorado, concert conquistadors forever seek an imaginary promised land. Evidently, the the perfect beat's payoff is worth the risk of never achieving satisfaction. Whether digging through dusty crates, unlocking new secrets on a drum machines, or learning fresh techniques with the band, the timeless expedition for a rhythmic Holy Grail endures. Humans, it turns are just that: flawlessly human. No temptation is too strong to ignore.. The decision becomes whether or not to participate; the only immortality provided by the fountain of youth is a never ending cliche. Imitations do arise from time to time. But in the end all forgeries fall from grace. Luckily, audiences benefit from this friendly, fruitful competition. New sounds are discovered are the while. Beats are improved; memories are forged
The perfect beat may just be the stuff that dreams are made of, but hardly will that keep anyone from trying to ascertain it. Below are just eight attempts at uncovering an unblemished zouk beat that screams, "perfection."
Although technically a brevemente, "DOr De C," could just as easily be considered a full song. Clocking just shy of two minutes, what follows is a zouk beat made up of two sections: introduction and body. Be that as it may, Puto Tito makes sure the single verse counts following a percussion-free intro. The drought of drums is brief. Kick and hi-hat make up the main rhythm while three pieces of percussion - claves, cowbell, and drum - provide variation with to the bassline. Two synths are present; one subtly manages the harmony while a higher pitched melodic synth enjoys a four bar phrase. An imaginative song overall in spite of a bland impression.
Soon after, Dj WilliCox followed suit. Released a week after the Puto Tito track above, "Ghetto Zouk" is self explanatory. Similar to the producer's previous zouk beats, the nature is known; which is to say its identity is recognizable. Both melodic piano and harmonic synth are integral to "Ghetto Zouk." New, however, is a sedate beat made-up of claps and hi-hat. Even with the occasional crash, the overall track is soft enough to merit kizomba vocal stylings. All in all, the beat is pleasant listen and hardly monotonous. Listeners are rewarded beyond a very well mastered track with an A-B-A-C-A-Bridge-B-C making the track relevant up to the outro.
No large post on this site would be complete without at a passing mention of Tia Maria Produções. If LyCoOx is in some way relevant, though, bonus points are to be awarded; which happens to be the case at hand because Dance Mamba, too, has released a zouk beat. As is the be expected on the two-week old "Gangsta (Instrzouk)," synth is hot and heavy. Beginning with a short, three synth introduction, the track only improves with time. Central to the beat, as well, is a high pitched, four-beat electric guitar as the melody proves to be deep. No less than two synths are layered throughout the song, providing a rich arrangement in the proess. The rhythm follows suit a well. With a deceivingly simple snare/snap rhythm, transitions may appear to be the most rhythmically diverse portions. But LyCoOx is much more clever than the average DJ and sis able to hide a djembe fill on the fourth beats. Unfortunately, bass is easy to miss as well, and would would almost benefit from a boost. Alas, listeners are urged to stand by for the four-bar hip-hop interlude showcasing, if nothing else, that instrumentals can stand on their own too.
A day after the LyCoOx release, LeoBeatz enters the conversation with his own zouk. Titled "Ghettozouk Demo," no illusion is ever created. Synths are in abundance and tempo is slow: 92 BPM. But while similar in length and structure to the Puto Tito song above - essentially a brevemente - the beat ultimately the bears more in common with "Gangsta (InztrZouk)." The long, two-synth introduction - nearly a section unto itself, sets the tone early. Energy, much like the initial Tesla coil sounding synth. With a high-melody, emotions are easily stirred. The stage is set for a much more inflamed performance. Harmonic synth is ever-present, providing a cushion the kick-snare beats drive forward; the bass weighs heavy, but only as a rhythmic accent. Once the guitar is introduced in the final section the beat changes and dor what it is worth, each transition is unique. A good song about not much can be said
Then, for the second time this year, Dj Wayne and Dj NinOo join forces. Rather than work with an afro-house track, though, the Firma do Txiga beat-makers opt for a zouk beat. Despite a trend towards synth heavy "gangsta souzk" beats, "Sonhar Acordado" features more traditional instrumentation; distinct for a track just as slow as preceding selections. What can be heard is a a kizomba with a correspondingly romantic overton. Preference for acoustic guitar plays a contrast to the to both LeoBeatz and LyCoOx intention on lustful dancing rather than emotional swaying. With a kick/snare beat - save for the ride cymbal hitch in the chorus and percussion in the second verse - the noticeably boosted bass serves in a percussive and harmonic role. Just prior to a long, fade-out loop of the chorus, Wayne and NinoO do ultimately use synth. As on "GhettoZouk Demo," this pair also takes care formatting details; transitional are nearly all unique, with shaker and ride use while crash is used twice.
Dj Wayne returns a a marked man as he plays with fire. In spite of its brief running time - a mere sixty five seconds - "Loucura Zouk" is one of the stronger beats presented. Tempo is retained, but all the soft edges on "Sonhar Acordado" have been shed in light of ghetto zouk styling. Promisingly, the track has the makings of a more complete and electronic project. Similar to the songs above, the long and short sections vary by just two bars. Rich in in resources, 'Loucura zouk" features two synths, a piano, a kick/snare (and the odd tambourine) beat, and percussion; all of which is heard throughout due to an atypical fade-in. Such is the nature of the brevemente that follows. But the show does not start yet started; only during the latter half of the number do Wayne's vibes peaks. Bifurcated by a percussion-free interlude, Wayne changes the floating vocals sample to. The phrase does not change in length. Alas, the voice has been chopped up and resulting the effect is strong. Many repeated spins are recommended.
The following producer opts for neither a ghetto zouk nor a kizomba feel. Instead, EdiCerelac creates a third way of his own. It seems that tired trails typically traversed are of no interest to the Mãn Juh Pruduções beat-maker on "Instrumental DDM Zouk," a veritable hybrid. Released a week ago the song features slew of different influences. The only constant, as a matter of fact is a typical batida style. During a short introduction, EdiCerelac provides but taste of the bass and and the melody which follow. The primary beat is composed of a light kick/clap/hi-hat combination; curious only until until the head takes shape. Two synth amorphous, ambient synths carry the melody and harmony on "Instrumental DDM Zouk."Affluent arrangements of kizomba and zouk are jettisoned. In lieu of this voice, EdiCrelac gets fancy. Tone is varied on the original synth before a third is introduced, providing a solo reminiscent of SNES soundtracks. Bass is inescapable as it becomes indispensable to both rhythm and harmony. A second drum provide some batuco-type syncopation during the third portion before the beat plays out. Very good song.
Last but not least is the group's Don Quixote. Unrestricted by the fetters of reality, Landim works form his Camarate dream laboratory. It is there - just seven miles northeast of Lisbon, or four from Sacavem - that the independent producer practices his craft. Not unlike a stampede of giant, a noise must be stopped and Landim is the only knight up to the tate. Wallowing windmills must be drowned out! As is required by the occasion, and undeterred by naysayers, Landim whips up a new batch of sweet sounding confectionary creations. Just one of the five beats recently released by "The Producer of La Mancha," what can be heard below is nonetheless representative of the beat-maker's larger oeuvre.
As was the case with the "GZ94" and "GZ98" demos, arrangement is lush. Exotic sounds, too. are prevalent throughout. But, "Zouk2011xD," proves different. Rarely are Asian instruments heard on these pages; much less two from the Indian subcontinent on one track. Alas, such is the case at hand. The song begins with two sarangi bars before introducing a foreshadowing hi-hat rhythm. More immediately unordinary, though, is the eight-beat, three tiered introduction; the final portion of which debuts both bass and organ. Nearly a minute into the song the head is reach. Rhythm changes into a more common snare/hi-hat variant. Two additional pieces of percussion lurk in the background all the while. Melodically, the same phenomenon occurs: synths conflate appearances. The bass and flute interchange solo portions, for which the rhythm once again alters appropriately before looping back to the beginning. A very strong, very promising effort.
The perfect beat may be a conspiracy; luckily the powers that be created dreamers who refuse to believe it. Thanks to them, the future is looking bright
- John Noggle
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