DJ Set I can't Ado Much About - Maréchal K'nibal "Daga Daga Daggering #2"

Fear no reaper.

With villains - as with life - size disproportionately matters.

Plus, the scythe is nothing more than a show-prop; even if licking the blade is far from recommended. At any rate, the problem at hand must still be addressed. When trouble comes to a head society will be at a lack for slingshot maestros. No Philistine is willing to simply take himself down and repeating old cliches only helps so much. True heroes would much rather act than consider the alternative. Surprise the opposition before it calls in support! Remember readers, even more problematic than the monster itself is the bride that lurks behind him.

Any beast with two backs - and further supported by wood - is sure to instill apprehension.

The solution, however, is easy to comprehend. Presented in short, audio format "Daga Daga Daggering #2" suggests limiting opposition in the span of ten minutes. Resistance is deemed futile. Listeners are instead left at the mercy of riding waves created by the Swamp Thing itself. With assistance from dancehall toasting - varying in language (English/French) and point of origin (Jamaica/West Indies) - the tide is aggressive; but such is to be expected from the Parisian Maréchal K'nibal, aboard his minimal, albeit intriguing, vessel. Rhythm is usually three layers deep; always active. Of particular note is the triplet swing on the fifth selection (about five songs deep). Still, the old-school is unshakeable. Sped-up dembow percussion is prevalent - through drums, claps, or otherwise - in addition to the occasional rapid-fire 90s spitter. Far from an exercise in nostalgia, though, new ideas are heard as well, primarily the reverse influence on the bass during the 8th selection. Transitions are alarmingly clean, often engaging in the fade while both songs are simultaneously playing.  

Simply put, monsters are best approached on a case-by-case basis. But for the time being, the issue can be ignored in lieu of this highly recommended download.




- J.N.

A Noggle Brain Trust, LLP. website

DJ Set I can't Ado Much About - DJ Tokinou "Red Zouk TBS"

Refrain from speaking.

Conversation is the gateway of engagement.

On the other hand, associating with straw-men comes with many benefits; so much goes without saying. And as with any friendship compromises must be reached. While sociable, for instance, the occasional effigy can no longer be put on the hot-seat. Any and all Burning Man events are similarly to be avoided. But the small, politically correct price is certainly worth paying. Those dummies are best that crash just like the rest. It is almost as if these individuals lack the facilities to make their own decisions. Alas, mannequins lives matter too and the casual nature of the relationship is unsurpassable. Unlike wax figurines, even the most average of scarecrows are always ready for a lively discussion.

It is for just such a reason, of course, that the hay-lobby is dominates today's social media landscape.

Unfortunately, the author is not one to follow through on his own advice. In addition to being of a generally odious disposition, hypocrisy is far from an enviable trait. Not only does the scribe express the opinion, but the man will frequently relishes in sharing the nuances of such thoughts: proverbial shame on parade. Just such an exhibition, as a matter of fact, was recently put on display; especially following the release of the collection below just last week (but more on the in a moment).

Titled "Red Zouk TBS" what follows is fairly self-explanatory. Slow to mid tempo zouk and kizomba - largely determined by the language, first French and ultimately Portuguese - play for just short of 25 minutes. Both instrumentals and vocal tracks are featured; the latter half favors female stylings, although the breadth of styles is frankly more impressive. No two subsequent number feature identical deliveries. Singing is heard alongside dancehall toasting and Atlanta-garnished rap flows. More important, though, is the impressive amount of dubplates the Martiniquan DJ Tokinou relishes in sharing. The beats are modern but regularly flash the traditional signs. In addition to flares for soft, 80s production, antillean acoustic guitar/piano runs are prevalent.

Much like the author choosing to follow Tokinou on SnapChat, though, no regrets are had. After all, the producer's screenname is available in the comments section, right above the download links. Second, at any rate,is far from beneficial. Impulse is the superior form of daily living Both the selections and the sequencing are enviable; apprehending a copy is recommended


- J.N.

A Noggle Brain Trust, LLP. website

StressMusik - "Perdido [Low Quality]"

The fix is in.

Forget about getting insurance: the outcome is 100% guaranteed.

Granted, the more sympathetic reader will surely rush to help at the scene. It is important, however, not to mind the older gentleman softly crying in the corner. Resist the urge to call for reinforcements; coach will gain his composure soon enough. Only one look is required to tell that this old ballplayer has seen worse in his day. Plus, if the television is responsible for imparting any useful lesson upon the viewing public it is that tears are not limited to grief. Break from tradition! Accept all possibilities. Every aspect of the evening went according to plan, after all.  Just when it seemed that hope had been lost, the con-man got conned in the final act. All wrongs have been judiciously righted (and with a delightful Harry Anderson cameo to show for it).

Still, a single mystery remains.

Although customer names are well known and oft repeated at this fine drinking establishment, the same cannot be said for the contents of its jukebox. Music, as a matter of fact, is hardly ever heard. Hi-jinks and quick witted retorts are much more likely to arise. But in terms of entertainment the television is, meta-enough, the primary source of amusement for the staff and patrons alike. Alas, a small-screen critic the present the author is not. So, for just such a reason, attention must be shifted back towards the glowing jukebox, restlessly gathering dust..

But tonight, the stereo system will serve as more than just electric furniture.  

The occasion at hand should be celebrated. House rules are that no expense is too steep. Put away the Cliquot & break-out the Dom. Entertainment, at any rate, has essentially been guaranteed by the likes StressMusik and his trademark backwards baseball cap; in spite of orchestrating an elaborate set-up himself. Yes, it is safe to ignore the "low quality" tag. Titled, "Perdido," the number is a natural fit in the Odivelas-based DJ's oeuvre. A slow to mid-tempo song, "Perdido," is built around a kick/snare kizomba verses. The drunken mumbles of an overly-excited hi-hat are heard on the 1/3 beat while claps accent 1/4 beats. On the chorus, djembe carries a more quiet variant as closed hi-hat and tambourine swing. But as on most StressMusik songs, while the rhythm is flawless the melody demands all the attention and "Perdido" as it ventures off into the uncharted territory of gouyomba (kizyad?). An 8-beat, high pitched, overly emotive synth line does not loosen its grip upon listeners for the entirety of the number, even including a second for harmonic purposes.

"Low quality" may apply vaguely, but ultimately misleading. Very, very good effort with an available download.



Notable Mention: Dj Teklas D'cantwo - "Flute-Demo"

The second selection follows a comparable trajectory.

Flight paths diverge, however, somewhere along the flightpath .

Not unlike StressMusik, Dj-teklas released a new track over the weekend with a strong kizomba foundation. Kick/claps keep the tempo moving an an average pace -  though, perhaps, venturing off into a slightly quicker territory - as close-hi-hat provides a hitch a the end of each bar. Suddenly, similarities fall flat as Dj-Teklas brings elements of tarraxo into the mix. Also, while busy, "Flute-Demo" is decidedly more restrained in structure and allocated resources. Alas, such a claim does not take-away from how enjoyable the track ultimately flutes to be. A dual flute attack provide a deep melody while non-continuous synths harmonize throughout. Left-of-center percussion and shouts make clandestine appearances as well, providing a suitable reason for repeated listens.

If the summer has been any indication, D'cantwo that merits being watched closely.




- J.N.

A Noggle Brain Trust, LLP. website

DJ Set I can't Ado Much About - DJ Zulox "Mix Batida Para Dj Marino"

Earth refuses to wait any longer.

Canada must face the consequence of its actions.

Discipline is, after all, essential for a nation patrolled by kilted yaksmen. The nefarious name of the Hague, however, needn't be invoked. Sovereign nations deserve autonomy from their counselors. But while basketball may serve as a decent consolation prize to some, the author remains unsatisfied; which is to say that Mr. Naismith's athletic innovation follows the trajectory of an airball. A simple hoop-based game cannot erase the memories of goal horns past. The hostile take-over of a hamburger kingdom by the principality of coffee is understandable. Business, like hockey strikes, are cold and calculated. Alas, Canada's kitchen crimes are voluminous and varied. From now until eternity, and at every moment in the past, french fries were meant to be consumed with a single condiment - two at most - not bathed in cheese and gravy; a culinary catastrophe capable of being constructed only by off-brand Parisians. Maple syrup has its time and place. Nova Scotia has catered a delightful brunch in its day. But, be that as it may, pork and pork-based products have no business being round.

None of which has dissuaded the beat-maker below.

Much like a gaggle of kids in the hall, Zulox enjoys the feeling of crushing others' heads from a safe distance. A cranial conscience cannot possible be conceived by the independent producer. Instead, what follows is an entity all its own; unique from what listeners have come to expect the great giver-of-headaches to provide. The track is not an original composition. What can be heard is not so much a song as it is a collage. Fast-paced, instrumental and short (clocking in at just past the five minute mark), the most appropriate comparison is a year-old showcase put together by Bebe Poco. Of note, however, is the focus. Rather than highlight the work of an entire crew, Zulox chooses to revisit the recent resurgence of DJ Marino over the past two months in the form of the brincadeira. Most of the mix is made up of afro-house & batida cuts, as the title might suggest, beginning with the unmistakable "Sapo." . None of the softer or more left-field creations rear their head  Transitions are handled mostly through fades. The instrumentation is usually typical; although, as the "BailandoO" remix shows, these are tunes that play well with additional percussive elements (monosyllabic and bisyllabic vocal samples, primarily, which double well as melodic elements).

More than enough to whet the appetite, even after all the Canada talk.



- J.N.

A Noggle Brain Trust, LLP. website

DJ Set I can't Ado Much About - Maréchal K'nibal "Funk do West Indies"

Meditate in the water.

Stare at the long, thick black lines for hours on end.

An answer surely await competitors at the other end of this indoor lagoon. If all else fails, create a reflection pool deep within the crevices of your mind. Silence anything that exists above sea-level and let forward momentum carry the weight of your body. But, most importantly, the author wholeheartedly believes in the importance of a good, earnest stroke. No gold medals are given out at the wading pool; there are perilous depths to be encountered in Olympic competition. Buoyant caterpillars do not turn into world class butterflies over night, after all. Preparation is a task to which only a minority will report. Alas, determination and drive fuel endless meters of freestyle swimming. Some prefer to float under the influence. Others are more partial to the relay.

Just make sure that the water is safe before entering.

So while reports from Rio de Janeiro take a turn toward the positive the mix below is presented. Care of the French based Maréchal K'nibal, what follows is a short (less than ten minutes), fast-tempo, vocal mix of Brazilian funky or funk carioca. In spite of a concise run time, the selection is fairly voluminous. Techno, EDM, and rasteirinha melodies are heard in addition to the irreplaceable vocal rhythm; hints of rasteirinha. Delivery is mostly of a hip-hop and dancehall toasting more so than singing and predictably in portuguese. Transitions are noteworthy because fades are seldom heard and each one appears to vary. Vocals are left to play out while the new beat warms up in one instance while a scratch might work in another; while it might come-off as a playlist the end result is far from amateurish. The most interesting moment, as a matter of fact, occurs just short of six minutes. Two songs are allowed to play simultaneously. As drums become more plentiful the rhythm becomes more diverse.

The download, and repeated spins, are highly recommended.


- J.N.

A Noggle Brain Trust, LLP. website

DJ Kappa Jota [Kappa Stress Soundzz] - "La Txon de Portugal"

The opportunity to share some funana does not require a reason

Some information, though, can be of some use.

All of Dj Kappa Jota's previous appearances on these pages occurred under the oft-repeated moniker: Dj Karfox. But it seems that a recent rebranding bears a strong underpinning of practicality; or so the the Amadora based beat-maker would have listener's believe. Certainly a similarity to the internationally recognized producer Marfox does not require much strain to see. Imitation might not always be the sincerest form of flattery.

Fortunately, the trademark Karfox techno-style remains unscathed

In fact, July has been an active month for the Guinean/Cabo Verdean musican rich in funana cuts. Beginning with "Criola Matxicada" this independent producer finds the groove while juggling three pieces of percussion and a creeping snare hitch on the 1/8 beat. The melody is carried by accordion and a synth that sounds out of the F-Zero soundtrack but would soon include more "Rapica na gaita" is essentially a remix of the above sone with an added siren and drum as well as a vocal sample. Most impressive, though, is the six minute "Mixibioti (Nha Mudjer)." Signs of an increasingly harmonic bass are heard. Guitar is introduced as an element available to the Kappa Jota funana register. Mastering is an issue but only because the peaking presumably deters illicit recordings.

But, as recently mentioned, producers are to be judged by the quality of their pop melodies.

The vibraphone current is strong on "Kizomba beat 1." The bass grooves heavy as well. Regardless, the disco guitar playing in the distance is a surprise; an idea expanded upon later. A djembe and claps are added but the rhythm make-up fits the beatmaker's profile with the addition of cymbal hitches on the 1/8 and 1/16 beats. At such a point, mentioning the jazz-piano melody in the body only seems unfair; the stuttering trap hi-hat only rubs the point in that Kappa Jota is very good at music and music related activities. In many waysl then, "La Txon de Portugal" is the culmination of what has recently transpired. Four songs are mixed together over the span of two minutes; including a false start at the beginning that is hyped by a horn in the second loop. Both accordion and guitar melodies are heard as well as hype and straight vocals.

Nothing negative to report



Notable Mention: Deejay Kvn - "Funana Cheiirinhoo"

The follow-up feature is communist.

Dialectical in existence, its role varies by day.

To each post according to its need, today's notable mention seeks to fill a void. Two-minutes is far from enough to satisfy the funana thirst. Fortunately, a similar concept - and nearly twice as long - appeared earlier today. Then again, the curator iin question is known for such an undertaking many times over.

Put together by France's Deejay Kvn (pronounced: Kah-veh-en) is heavy on the accordion melodies, plenty of love is given to synths as well; the odd guitar is heard eventually. Vocals are mostly used for hype but are present throughout. Changes are frequent; nearly every two to four-bars with only one brief break at the middle A left-hand turn is taken near the end. The sounds become electronic and the syncopation slightly more adventurous. And just as it begun, the listener's time with the audio mosaic comes to a close (until Kvn resurfaces is a month or so)

As with the rest of the Paname based DJ's work, the download is recommended for binge listening purposes. .



- J.N.

A Noggle Brain Trust, LLP. website

DJ Set I can't Ado Much About - Dj 5Etwal D'jazz Dj'aa "It's Getting late Live Fort Myers"

Forget about the quorom.

Interacting with other people is necessary.

The life of solitude has, if not ironically, a surplus proponents throughout history. It is by sheer coincidence that society now happens to be adapting. In fact, half of the American population is now living the single lifestyle. Two-and-a-half children no longer made up the dream. Isolation is becoming the norm. Such a point was especially prescient at the baseball game earlier this year between the Chicago White Sox and the Baltimore Orioles played in front of a zero - count 'em, zero - people; and, it just so happens, that the author is in favor of extending the notion more widely across the spectrum of entertainment. There was the Bob Dylan concert for a single person, after all. Although such down by the city, Chief Keef attempted just such a feat by means of a holographic performance. And, perhaps not all the same, but there is plenty of filed copy concerning the nature of Death Grips concerts where in spite of the audience, advertised performers fail to materialize.

The present, however is decidedly more traditional.

Little information is provided. Substance, however, is made due from what is provided. As such, the author posits a series of assumptions: Dj 5Etwal D'jazz Dj'aa is a Miami based party-selector and head of the Belizaire Music Group. Needless to say, the relevant Instagram feed is active. Plenty of events require music; and what follows seems to be just one example. Heard below is an eleven minute excerpt from a presumably longer set performed at the end of March. Kompa and gouyad are the legal tender. Vocals tracks are played and some hype is provided but this mix favors the instrumental. Synth is prominently featured over 16 beat loops; yet the multifaceted electric guitar portions are just as worthy of examination. Seamless transitions assist in building up a trance in a performance not to be confused with monotonous. Key changes in synth are also used to increase intensity. Guitar will change up the strumming for its part as two levels of syncopation are maintained throughout.

A shame that no download link is provided. Highly recommended.


- J.N.

A Noggle Brain Trust, LLP. website

AleexProduções [Black Starz Dj's] - "AfroLatin"

Go build an island.

Oceans will not mind the construction.

After all, in this, the year of our lord, two thousand and fifteen, underwater escapades are bow a common occurrence. Not even the northernmost seas are immune to bipedal exploration. Look no further than Macondo: here, not even a colonel could stop the Earth from bleeding for a total of 87 days. Alas, the present is not a time for weeping. Celebrate that the seven seas are in the midst of a landform renaissance instead. For the first time in sixty-years the threat of bay crawling swine has ceased; which is to say that tensions have eased. In the mid-Atlantic, where hurricanes for, the United States and Cuba slowly continue to make-up (heretofore). And, as-per-usual, Europe is not one to be left out. Greeks are once again able stand on the sure footing of their ancient peninsula despite threats that the nation might just float-off into the Mediterranean. But no country has proven itself more innovative than China.

Then again, it was the Buddha that said "Make an island for yourself! Strive hard and become wise!"

No proof is offered on such a claim. The author has admittedly - and to be perfectly honest, with shameful amounts of pride - decided to base such notions on absolute speculation. A convenient narrative springs forth; and  at the return of Black Starz Dj's most prominent beatmaker nonetheless. For the first time in six months, Puto Alex has shared new music. Three new tracks have appeared in little over a week. No disappointment has thus been sussed out. In fact, all the relevant boxes have been checked on the producers' list of musical traits. A perseverant streak of the traditional is heard.  Percussion is rich. Melodies, if anything, recall techno. But Aleex's two most prominent profiles are shown; the single synth "PanicOo" is housier with a deep groove while "Fezadaa" is the more aggressive beat. Of note as well is the continuation of a giving human feelings to bongos. Such examples being: MeloO BongoO, Bongos Agresivos, and JaarDel's Bongos Confusos.

Most important, however, in measuring any beatmaker worth than judging an attempt at constructing a good melody.

Kizomba and zouk cuts serve as optimal opportunity. In short, Aleex is very good.

Titled, "Afro Latin," the track below does not deviate from what is stated above. The mid-tempo house song is on the quicker end where pace is concerned and is made of of three equally divided section. Somewhere between seven and ten different pieces of percussion are heard. Both instrumentation and accents on the beat are, it seems, relatively. latin Kick/Hi-hat generally provide the underlying rhythm while clap or djembe/bongo syncopate. In addition to the thick layer of bass, and ambient synth carries harmony while a single note synth the melody until the final section. Guitar is ultimately added to the instruments Aleex has used, most notably accordion.

Whether sandbar or island is none of the author's concern. Listening, though, is highly recommended.



Notable Mention: Wagner Teixeira - "Havaianas"

Similar accolades can be lauded upon accompanying artist

The fact that the name sounds not unlike unlike what a bad Brazilian pseudonym might to the author is a separate matter entirely.

Wagner Texeira is based out of Lisbon. Similar to Black Starz Dj's, the independent beatmaker follows in a purist vein. Drums are beaten a-plenty. Polyrhythms are the dancer's playground. With a still expanding canon, it seems as though faster tempos are favored and that Killer is a frequent collaborator. But what jumps out the most at any listener is the commanding snare drum.

The track below is no exception; and follows the island theme to boot. A  fast paced batida, "Havaianas," is carried by a kick/hihat beat and bell transitions. Techno predominantly shines through where genre is concerned. A single sound with an echo effect carries the melody while north of six drums play at any given time. Bass is heavy and grooves well. Finally, the song follows a typical intro-A-B-A pattern. What jumps , where structure is concerned, however, is the fat thirty two bar loop is the center of the song.

Aggressive sounds. Play cautiously



- J.N.

A Noggle Brain Trust, LLP. website

DJ Set I can't Ado Much About - Deejay Bubas [FDM Produções] - Mix Parte 2

Introductions are rarely necessary.

Individuals wealthy in time consider formalities to be luxury.

Fortunately, life is best experienced in a state of surprise. Tread on without any spoilers, dear readers. Let major events organically unfold. Synopses are a crutch for the weak and the wicked. Do not fear sight of M. Night Shyamalan; a twist might already be in the midst of developing. Consider that the world is full of snow globes. The only element missing is a child ready to stare aimlessly into its glass, and surely the world has surplus of youth. Plus, the clairvoyant economy is single-handedly buoyed by uncertainty. It seems irresponsible, in these dire financial times, to wage war on an entire industry.

But the current post merits a certain amount context, nonetheless.

Ironically, Bubas is a man of few mysteries. The brand at hand trudges on strong; which is not to say the beatmaker is stagnant. A series of changes have steadily occurred over the course of a year. Most visible to the B-Side A-Hole faithful might be the name changes (Deejay Bubas to Bubas Produções to Bubas Productor). Likewise, the associated imprint has been shortened from Filha da Mãe Produções to FDM Beatz. Yet, throughout the process, the Queluz beat-maker has remained delightfully consistent; nothing short of a model for cyber-hustling. The work ethic is enviable. An argument can be made that no one on SoundCloud grinds harder; and as such these pages have not dedicated the man all of the attention he deserves. Despite being known for ninety-second tracks, Bubas is responsible for upwards of fifty releases and is has begun to reap the benefits of increased exposure. High profile collaborations have begun trickling; such as a dupla with the borderless Nidia Minaj. Most telling, perhaps, is the prominent role Bubas plays in a recent Puto Marcio/Puto NunOo mix titled "Aquecimento."

And the reasoning is simple: young OG Bubas is a clean, classic man.

While contemporaries have begun gravitating toward spectrum poles, Bubas has not rerouted. The mix below is no exception. A sequel to last year's "Mix Afro," the compilation that follows makes an excellent good case for the value of being a purist. Compromise is nowhere to be heard. Paths of least resistance - mainly genre cannibalism - are left untrod. Likewise, the temptation to hack at the untamed fields of the left hemisphere is successfully beaten away. Effects du jour are absent. Extensive instrumentation is irrelevant. Instead, what follows is more akin to an extreme moderate as traditional African music is allowed to exist from from tinkering.

Bubas lives and dies by the percussive arrangements. Like a good sermon, the premise is established by means of an underlying beat (usually closed hi-hat or snare); once a trance is established, though, minor changes serve to magnify the effect. Afro-house and batco rhythms are of a modest pace. Vocal samples and single-note synths, as well as the occasional droning element, only play a supporting role for whatever section may require such services. Transitions come care of fades but are typically seamless. Two of the most interesting moments, however, some at 0:56  when a hip-hop beat is heard and 7:45 when the DJ gleefully toys with the gain.

A very good collection that can only be criticized for lacking a download link.



- J.N.

A Noggle Brain Trust, LLP. website

DJ Set I can't Ado Much About - Dj Matafesta & Dj Michel - Welcome to RM Family, Afromix Style Vol. 2

Always walk, never run.

Speed is feat best left to the professionals.

After all, making difficult tasks seem easy is a true sign of greatness; momentum management included. For just such a reason, then, the author has long revered the universe at large. To the uninitiated, multitasking seem insurmountable. While Expanding the parameters of reality seems impossible on the surface, doing so while accelerating is simply awe-inspiring. Odometers truly kneel before the cosmos. Thus, any master seeking to hug the learning curve while racing past must first remain diligently at work. Fun only lasts until a fire extinguisher is needed after a hundred meter dash. But still, with just right amount of physical gifts and discipline, shooting arrows at sprinting stars remains a viable.

For the rest - turtles to the world's hare - the compilation below will surely suffice

Released earlier this week, what follows is a joint effort from RM Family Djs Matafesta and miCheL; the latter of which is responsible for a good funana mix in the not so distant past as well. The present, however, is different. A wider audience in mind. And so, as the name might suggests, the mix follows an inoffensive past. But largely composed of fast-paced Angolan afro-house and kuduro, a quaint element is retained by the production duo. Intentions are clear from the beginning - as evident by the bold decision to begin with a remixes of "Botão" and "CoCo." Listeners and dancers alike are impolitely asked to recklessly turn up; demands which the audience would wise to abide by. After all, the theme does not change throughout the selection's duration. But more impressively the energy level is successfully maintained, if not placed into a controlled descent. In spite of forgoing any warm-up toward a full-sprint, thus backing themselves into a corner, sufficient reserves are retained. For all intents and purposes, a common bassline is pieced together. Aggressive four-beat synth melodies not unlike an EDM set fuel the audience. Different vocal styles and subtle syncopation changes assures sufficient variety as well; which is to say there is no over reliance on bangers (although the a certain Mauricio Pastrana track works to great effect).

Needless to say the download is highly recommended



- J.N.

A Noggle Brain Trust, LLP. website

Dj'ette laya - "Kiz Day in the West"

Leaving a scorched Earth in his path, the creature known as Birdman roams free.

The house that Wayne built, in middle of a Cloverfield, now lies in shambles; subject to the trials of time.

Still, orders for the Hammer Protocol have not been relayed. The saga in question is yet to concluded. Accusations have been levied. Both figuratively and literally, shots have been fired at busses, inside of houses, and across social media platforms. Even members of the bar have been been dragged into the matters of a man once trapped behind Xanax bars. Which is to say that many more details remain must be explained. Entries are pending on each the main actors' rap sheets. Real world plot devices are becoming far less Bloodsimple. What began as a promotion for Barter 6 - not to mention the eventual releases of Sorry for the Wait as well as FWA - is having real world repercussions. Alas, hefty words such as "conspiracy" and "terroristic threats" make for good copy; and enough illegal activity to make even the Coen brothers blush.

These pages, however, shall not bother to keep asking about why

There are a couple things that the author would rather talk about right now, anyway. Principally, a related character from far-north; way beyond Fargo, North Dakota, where the residents speak with even more peculiarity than Minnesota. Self-described as a legend, the God known as Drake has enjoyed a comfortable amount relevance throughout 2015, as well. In addition to the release of If You're Reading This It's Too Late, the Young Money staple has worked a number of high profile shows in the middle of Indio Valley, California. Yet, the post at hand is concerned with the more distant past; primarily a 2014 cut produced by PARTYNEXTDOOR.

While the stream-of-conscious lyrics invite the same psycho-analysis as the rest of the artist's catalog, the slow-tempo, kick/snare-based "Days in the East" merits examination nonetheless. Closed hi-hats play the triplets while chains and open hi-hat syncopate; claps appearing intermittently. But despite the dozen or so elements used, the backing track recalls Nathan Arizona's backyard. The use of just two synths for melody/harmony allow ambiguosity to flourish. Vocal inflection and delivery are given the sufficient amount of space determine their respective outcomes; especially in the latter half, when rhythmic elements are jettisoned in lieu of a single synth and record effect for percussion purposes.

But rather than continue showing his ignorance through comments, the author would rather continue breeding with his false sense of confidence; not unlike the internet has a habit of doing.

Such is the nature of the confirmation bias. At any rate, Tinashe claimed her stake of land on the Great Planes of the worldwide timeline earlier this year with the release of "Amethyst." Similar to Drake, though, a year old recording is of greater relevance; primarily the LA singer's remix/cover of the above-mentioned song titled "Day in the West" With a simply astonishing set of R&B vocals, Tinashe opens a vein on the run. Vibrato is pristine and sparingly used to great effect. The subject matter also concerns fame and the assertion of control over artistic license; but in contrast to the original, more ad-libs are present. A beat length vocal sample on the harmony adds a certain depth to the track as well. On a final production note, an electric guitar is passed over in the finishing stages as finger snaps are brought into the fold instead.

And it is just this culmination that ultimately makes the track below so intriguing. Although a in essence a scene remix a Drake loosie once removed, the beat-maker's train of thought is not at all obscured. This Paris-based producer named Laya is a Dj'ette, after all, not a mere DeeJay; thus, the selection of the number's female version becomes easier to comprehend. But while the kick/hi-hat/snare inarguably establishes a kizomba rhythm, it is the revamped harmony and melody which yields greater riches. The original, airy synth is retained and brought up to speed with the quicker tempo. A second synth is added for bass effect while a higher pitched alternative interplays with the melody. Acoustic guitar resembling semba is heard as well. But hardly is forward motion stifled. MIDI horns and strings expand the already rich tapestry, elaborated by a couple additional synths right up until the end.

Well worth the listen.

- J.N.

A Noggle Brain Trust, LLP. website

DJ Set I can't Ado Much About - Dj SaMo - Gouyad Show 2015

Samo is missing in action. But hope is not lost.

Reports have surfaced from Tartown claiming a man with his likeness has been spotted. 

In spite of allegations that this individual was seen beat bopping walls on either side of the road, such claims cannot be independently verified by the author. In Basquiat's place, however, is a serviceable replacement. A series of noticeable differences exist should be noted, nonetheless. First, Samo Deejay does not reside in New York. The North American has been bypassed altogether. This member of Haitian diaspora claims residence in Hauts-de-Seine - just about seven miles outside of Paris - instead. Also, it does not appear likely that any relationship between Dj Samo and Madonna exists. And finally, while purely speculative, it would seem likely that this audio purveyor below is also not a street artist. 

Fisticuffs with Warhol remain impractical and unnecessary. 

Yet, what follows is equally populist. "Gouyad Show 2015" is a very accessible ten minute mini-mix; lack of a tracklist notwithstanding. Predictably made up of instrumental gouyad, a couple vocal compas thrown into the mix for good measure. The slow to mid range tempo kick/hi-hat and kick/snare stir the audience whirlpool of motion. Melodies remains largely the territory of the acidic synths which cover the spectrum from dramatic to inciteful within its role as a trance-setter. Still, the kreyol guitar with deep harmonies and rhythmic assistance - alongside to the occasional conga - merits additional attention. Transitions between songs are smoothly: cymbal effects are used interchangeably with fades.

The download is highly recommended

- J.N.

A Noggle Brain Trust, LLP. website

Marcio Mendes [TMP] feat. Dj Fmz [PDDG] - "Hora da Produção Show"

Turn off the TV.

Pay no heed to any of the tube's lessons or screeds.

The golden age of transmission is not. Only a satellite broadcast, though, will a group of three people be considered a crowd. If success has been found in a pair, the urge to expand is only natural. Granted, such a question has previously been explored on these pages. The sentiment, however, begs to be revisited. After all, artwork is an ascetic craft. Solitary existence is useful, but not necessary. Meditative silence is effective only when put to good use. Consider, for example, that  inventive creators across disciplines have, for aeons, questioned themselves in the darkest of night: must anyone record with paint or with ink - with sound or film with film?

But such is the precise benefit of receiving just a little help from any dear friend; or in the Beatles case, Robert Zimmerman in a hotel room. Partners - especially in music - provide momentum for the inertia. Sure, Hendrix could always play guitar. Prior to meeting Zappa, though the experience lacked a certain "wah." Allen Toussaint may not have taught Dr. John how to play music, but some the best work attributed to either man has come when working as a pair. Not even Hitchcock is except from the discussion; alongside a Herrmann score, showers, fields, and birds transform from mundane to terrifying.

And so, in the spirit of collaboration, the following, mid-tempo afro-house song is presented below. Released on Monday, "Hora da Produção Show," initially falls flat through no fault of its own. By sheer virtue of the names involved - albeit through monikers - expectations are immediately high. But both Firmeza and Puto Marcio have notable profiles, which is what makes the dupla so interested: progressed is disguised. 

Typically short bars are extended to a robust 32-beats as the kick/hi-hat rhythm is established. A rolling woodblock syncopates throughout while djembe is responsible for a faint hitch. But, after two loops, the song proper beings.The number is laid out as a 'versus,' and once the head is established Marcio is the first to provide alternations. The drilling sound of digital snares add an extra layer of percussion with a fill of its own. A single flute note provides the sole melodic fodder while provided a rhythmic use all the while. 

Firmeza jumps on the track at just past the ninety-second mark to give the flute some breathing room. One vocal sample is added to give a Latin, syncopated flare to the beat as the melody begins to cover more ground. The flute struts a funky flare all the while. Minor shifts are added to the woodblock and maintained, upon returning back to the theme. Of final note is that at the time of publication less than five hundred plays have been recorded, which seems unsual when considering that the song was released on the official TMP account rather than the secret account that Mendes maintains

Very good song with recommended download.

Notable Mention: Puto WIlson [C.N] &  Dj Rafafoox [NEP] - "Im"

In similar fashion, the second selection features a joint production .

The main difference, though, is the absence of upper-tier personalities.

Nonetheless, the author is intrigued by the collaboration below. Although all-star, dream-teams merit all of the attention sent their way, surprise ventures between up-and-coming talent is ripe with just as much potential. Technical abilities may be lacking. Nuances, as a result, may be overlooked. But what a team of novices does expertly offer is a brand of creativity and intrigue exclusive to naivete.

And so, with that having been said, what follows is an improvised, mid-tempo to quick batida in a batuco style. Care of perennially intriguing Puto Wilson and RafafoOx, the producers adhere to a versus structure too. Hi-hat/kick provide an optimal main rhythm for the concept: present but not overwhelming. A groove is rapidly found prompting the AvP beat-maker to take control of the board. A high-pitched, bounces a handful of notes while two vocal samples are heard; four syllables for melody and one to accent quarter notes. Meanwhile, a rimshot fill is used to syncopate. The three-part, descending bass is clean and back loaded. Two bars are at the end are left for RafafOox, who begins by juggling the melody between the synth and a newly introduced whistle. The same vocal sample is maintained for melody, albeit reshuffled; a second vocal is kept for similar accenting, albeit now with the term 'diablo.'

The song is short and the beat lacks glamour; neither of which can be faulted to the DJs. One statement, though, can be certainly made, as far as the author's observations are concerned: having heard a grip of experiments in just such a fashion, the track that follows is the new style.



- J.N.

A Noggle Brain Trust, LLP. website

I-Octane - "Ghetto Life (Raw)"

The best way to learn to by observing.

Surroundings must always be paid their fair share of attention.

Act as a sponge: do not speak much and, if possible absorb whatever is occurring in the immediate vicinity. Setting up a residence inside of a pineapple is best left to the realm of personal preference. Consider that no two bikini bottoms are the same. Neither pants nor squares, though, are of great concern at the moment. Despite being a long standing opponent of  walls that number four, the author has opted to leave this particular fight for another time More pressing issues await.

Concerns such as: Mouth, ears, and eyes have been covered for too long must be addressed

Due to fear, three of the more important human senses have been censored  Questions cannot be asked without speech; itself unable to be acquired without eyes or ears. More importantly - and in just such a fashion - the author recently gained gain a lesson in pop culture history while  waiting in line at a gas station. Like old friends meeting-up once again, the attendant asks a customer in a navy blue, button-down shirt, "You work two jobs?" To which the individual with a clay complexion responded, "Yeah, I'm like a Jamaican. I got two jobs." Most homies might not play that game in particular, but this cat was decidedly different.

On the song below, though, such a question does not exist. The performer is a professional musician. There is no doubt about it: singing the man's craft and released yesterday, "Ghetto Life" is the latest addition to I-Octane's cannon. A socially conscious record, the song is laid out in a typical pop fashion, Two short verses are featured over a mid-tempo kick/clap rhythm. Bass maintains a funky disposition throughout. Meanwhile, piano carries the melody while a synth synth the harmony; a second of the latter variety appearing in the second verse. During the hooks the percussion becomes for elaborate. For example, a closed-hit hat accents the fourth beats while an open hi-hat grooves on the thirds. Snare appears only briefly in the bridge. Auto-tuned singing is most relegated to the theme as each verse receives a novel delivery.

Very good song, no reason to complicate matters



Notable Mention: MrSM [TruchaGang] - "Jiggle It [Prod. by DJ Jyz]"

In contrast, the second song is clearly intended for the clubs.

One may even even that what follows is unquestionably a "slapper."

Such an assessment would not be false. The song below is grandiose. Created from the reckless lava of a volcano erupting at see, neither singer nor producer have any regard for innocent bystanders. Collateral damage is merely accepted as a tragic inevitability.

 Released two days ago, "Jiggle It" is a fast number driven by a kick/snare beat. Ultimately, though, rhythm section is very much busier While closed hi-hats mark quarter beats claps syncopate. Djembe is heard at the beginning and nearly disappears, destined to a legacy overshadowed. Melody mostly comes from a three beat accordion. During the  chorus, a four beat EDM synth , which undergoes a key change, is harmonized by the deep sounds of a piano. Bass is largely subtle and used mainly for its fill at the end of a bar.

But the most interesting aspect is the use of vocals. MrSM's delivery is mostly rap, except for the zouk/kizomba hook. As can be expected, ab-libs vary from vocalization to lines repetition; both of which add a layer of melody and rhythm. It a a final source, however, that has managed to grab the author's attention. A vocal sample lifted from Brazilian funk plays alongside the drums. As a syncopate the beat sound fuller and more robust as opposed to cluttered. An extra dose of energy is essentially provided.

The download is very highly recommended

- J.N.

A Noggle Brain Trust, LLP. website

DJ Set I can't Ado Much About - DJ Mika - REMIX AFROGUETTO EXCLUSIVE JUNE

The covers of books must be judged.

Appearances must somehow be maintained.

Initial impressions do serve a purpose, after all. It imperative when meeting anyone named Juliet that one be able to decide whether she is of the east or west. Suns have set for lesser men and woman. Rachel, for now at least, will be recalled more closely with Spokane than 90s New York City. Shed the idealist shell. The interaction that matters is first contact. Utimately characters are not only welcome but are also meant to be judged. 

Granted, the beatmaker at hand is no stranger to these pages. Dj Mika has been featured on more than one occasion; more often than not in the supporting role of a funana cut. But the net is cast wide. While the man show a preference for traditional sounds his bias does not take away from more blatantly electronic numbers. Based on appearances alone, though, an accurate opinion of the Lisbon based, independent producer cannot be made. The name on display is a generic deejayMika93; nonetheless, the network of collaborators is strong (Mulatoh, EstraGaa, Big Vado). And still, a further contradiction is made: mastering can truly be a hit or miss affair.

Not to mention that what the above cannot change is that Mika content is important to watch out for.

The selection below is just the latest example. Decidedly afro-house, the "REMIX AFROGUETTO" is a mid-tempo to fast paced - a 130 BPM speed is shared - collection of songs that clocks-in at exactly fifteen minutes. A strong whiff of techno and house come off the mix. Syncopation is heavy but melodies are not aggressive; if anything appearing somewhat sparse. Both EDM synths and typical instruments are heard. In an tie backto disco origins, bass grooves regardless. Transition are smooth as songs are gently eased into a successful succession. The best quality the mix has, though, is the presence of exemplary talent. Tia Maria, CDM, Txiga, and a "Puxa Puxa Larama" remix.

Highlight shows are no replacement for viewing a live sporting event, but when necessary these shows can be quite useful.




- J.N.

A Noggle Brain Trust, LLP. website

Traxman [Teklife] - "Puerto Rican Day (Juke Edit)"

All of the world's countries are equal.

But, perhaps, some states are much more equal than others.

With that having been said, a full disclosure is in order. The current post has not been written under the guise of objectivity. Parties interested in a lack of bias are advised to search elsewhere. Instead, what follows is prideful and partial; fawning at the mouth, as a "very festive people" are wont to do. At any rate, the land mass in question is not, and has never been, a country in the traditional sense. These words might read as rough, but these feelings run deep. But such is the nature of the author's beloved island: a nation which Cultura Profetica once described as, "El unico pueblo latinoamericano que nunca se libero." The sentiment, though, is not uncommon. Identity and political status have long been a focal point for Puerto Rican artists during the last 116 years. Bards have sung, and will continue to sing, of Borikén's history in spite of tyrants' black magic because the island will be beautiful even "Sin banderas sin laurios ni gloria."

The sky is free its star flies alone.

But until that day when the status quo might change, parades shall gladly serve as a substitute. And so, in coinciding with this year's events, Chicago's-own Traxman released a fresh track on Saturday. Titled, "Puerto Rican Day (Juke Edit)" the song marks the second time in recent memory that the good DJ has found inspiration in Latin quarters; mainly the used an old Fania track graced by presence of the late Celia Cruz.

But the song in question - a quick number which favors the ghetto house roots over a contemporary footwork checklist - revolves around three different samples, beginning with two succinct male vocals. Claps provide a base-rhythm as the hi-hat is used toward four-to-the-floor purposes. Bass creates an underlying bounce while the fills and other syncopation are largely played by a snare; though scraper and miscellaneous percussion are heard as well. Once the introductory sounds are scaled back, though, the familiar sound of salsa are heard; coincidentally thr same Elvis Crespo song which inspired LyCoOx not too long ago. But ever the dynamic composer, change is to follow Corky Strong as the samples that follow are Yandel's "Moviendo las Caderas" as well as the forgettable 2012 sensation "We No Speak Americano."

Although it comes off as a medley, the selection is forceful and effective.

Notable Mention: Puto San [Black Starz Dj's] - "Bifee"

The second selection has a Latin connection as well.

This line, however, is not particularly bold.

Fortunately, quality is an able source of consolation; not to mention an element in which Black Starz Dj's specializes. The author has not heard a poor song from this transnational crew and the song below is no exception. Released over the weekend by Puto San, "Bifee" is mid-tempo to quick paced afro-house song with abundant percussion and a "RADIOLATINA" tag (likely in reference to a Parisian radio station). Lick drums establishes a foundation four-to-the-floor. Meanwhile, fembe creates an Angolan, kuduro beat. Ride cymbal is used for transitions while crash is the preferred method cue within a section, of which there are three. Vocals samples accent even notes, only to be joined by a friction drum and whistle at different moments. While largely absent, the bass is not missing. Mixing is clean; nearly medically sanitary in its level of subtlety. Any participant, though, is sure rewarded by a track that is able to induce a good trance.

The far superior track, though, comes from a different Black Starz DJ's member. Jaardel is part of the group's Portuguese contingent and deserves just as much attention. As a matter of fact, this quick aside does neither the man nor his music any justice. Alas, "G Original" is now two weeks old; exiting largely is the sphere beyond relevant publishing material. Regardless, the track is a veritable marvel. The sixteen beat, acoustic guitar melody is noteworthy but far from the show stopper. Polyrhythms are abound on a song that flirts with being a minimal batuco. Hi-hat/tom create the beat but are methodically eroded. Sticks are beat together as woodblocks ease into the groove and percussion ranging from drums to bells play away. Simply excellent.


- J.N.

A Noggle Brain Trust, LLP. website

Politik Naï - "Cassé TSKN [Prod. by Dj Run]"

The bold are handsomely rewarded.

Venture off into the hinterland, dear readers.

Explore what this special, spherical Earth has to offer. No matter the variety, those that are well fed are destined not to hunger. The urge to travel is no exception. Whatever voice is shouting for wanderlust demands to be heard. Do avoid, however, the convenience of a consumer-friendly globe or venerable atlas. First hand accounts are of the essence. Matteo Ricci may have brought Asia the good news, but Marco Polo brought back the noodles some three-hundred years earlier. Pave a personal silkroad. To the financially minded, establishing a low-maintenance spice trade, might be more to taste. Alas, only remember not to travel in the wrong direction in a mad search for India.

Inglorious mistakes can only be rewarded with a holiday once.

But the selection below is far from an error. As travel ought to be, this latest stamp on the author's audio passport is both pleasant and enjoyable; even if some resistance is encountered. The track's origins are stubbornly elusive. Careful searching is of the essence. As a result, though, a collaborative web emerges.

Consider the selection at hand. Titled, "Cassé TSKN," the song is performed by was released Dj Run - one of four beat-maker united by the moniker Factory Maker - and performed by Politik Naï. Interestingly, though, under contact information for the production crew, an e-mail with a French domain code is listed. Meanwhile, another of the group's prominent member, Dj Sayd, appears to be from Martinique. As a result, the scope must be widened to gain a proper context. Unfortunately, the signal is further buried under noise.

Such is the case with another, recent Politik Naï track titled "Musik Mwen Love."  Nearly all the typical elements of Antillean dancehall are present, none more prevalent that vaguely Jamaican title and creole French/English lyrics. The rhythm is undeniably zouk. Seemingly trap hi-hats groove. Claps are added for variety later and vocals are of both the toasting and singing variety; the latter with a polished kizomba feel that applies to the elaborate melody as well. Yet, the producer is from a different part of the world entirely. Based out of Réunion, DJ Tymers is a Run Hit aligned beat-maker with apt chops. On the Jones Killa track, ""La Pou Toué," for example, similar rhythmic abilities are shown, as well as a taste of organ amidst while the turn-up sensibilities of bro-step bass. But such is often the case in this scene: a recurring set of people brought together by language and music; never more present that on "Summer Flex," produced by VJ Awax, a featured artist on "Musik Mwen Love." The net is ultimately cast even wide. Leaning more towards soca than dancehall, and featuring, Guadeloupe's own Daly, creation proves to be more important than the classification.

Music does not need to be any more complicated than it already is.

But in returning to the original Dj Run song mentioned above, "Cassé TSKN," is decidedly dancehall. The vocals provided by Politik Naï vary between kizomba on the chorus and 90s, rapid-fire toasting  on the verse; the latter calling to mind very early career Daddy Yankee. DJ Run opts for forceful snare rhythm throughout; only to be syncopated by hi-hats whenever the hook comes back around. Heavy four-beat piano carrier the melody while strings harmonize, in addition to a synth that plays a significant role in the groove. The throwback theme runs deep - especially during midway during the first verse, after the brief inclusion of claps, when a key change creates a much more picturesque outlook. As with any soundsystem creation, though, the bass is heavy and when combined with percussion it is absolutely reckless, The second verse serves as a witness to this feat.

Good song and the mediafire download should certainly be enjoyed.



Notable Mention: Byronn feat. Soulja'man - "Hot Gyal [Prod. by 4 Roads]

The second selection is, similarly, a West Indies dancehall tune.

Fortunately, a family tree, will not be provided.

At any rate, the track is sure to sound familiar. Two guitars are used for chicken scratch. Called the, Big It Up Riddim, 4 Roads uses a snare rhythm and maintains a bell metronome. The occasional percussion will is heard as well but for strictly practical purposes and hi-hat is sporadic. Vocal samples are put toward syncopation purposes. English vocals cover the gamut of gruff barking to clean toasting as well as singing.

Strong track from Martinique's DJ Tokinou, as per usual, but more on him and the Ay Coké Riddim at a later time/



- J.N.

A Noggle Brain Trust, LLP. website

Telvin Timas [Estudio TF] - "Arrasta O Pato"

Animals are no better than people

Controversial the above statement is not.

The idea has been touted long before the advent of these pages. Yes, Primus sucks; alas, the Bay Area legends had some transcending words for those creatures of the wild variety. For his part, Roger Waters informed the world that dogs have a firm handshake and an easy smile. Penguins, of course, can dance. And literature, too, has always been privy to allegories. It goes without saying that George Orwell was known not to keep kosher at all.

Regardless of which branch of the animal kingdom one most identifies with though, one sentiment runs deeper than the rest.

It was the urban philosopher George Clinton that said, "Free your mind and your ass will follow;" and just such a sentiment is expressed on the song that follows. Hailing from Portugal by way of Cape Verde, Telvin Timas is an independent beat-maker. Of immediate note, however, are the strong geographical co-signs. In addition to representing his own TF Produções, the DJ in question resides in the municipality of Sintra, city of Queluz alongside AvP's Puto Babaa, MNJ's EdiCerelac, and DDPR's WilliCox.

Where tangible stamps of approval are concerned, though, curious parties need only seek out the recent BNM collaboration, "Beat dos LoKos." The demo is a fast-paced batuco; a style which Timas frequently works with. Alongside Dj Perigoso - for the second time - a bass drum massages the ear drums throughout. Tambourine swings and the hi-hat plays a supporting. Synth samples are very concise, varied and well arranged. Most noteworthy, though, is the dense machine rattle from a digital snare between the introduction and the head what appears to be just as much as a bouncing bass TF signature.

But of relevant interest is the title of the current selection. Titled, "Arrasta O Pato," the song was released yesterday and, literally translated, it seems the producer is suggesting that listeners appropriate the qualities of a mallard. But, with context, the request becomes more sensible. Webbed feet do not seem so bad. The reasoning is simple. A slow-paced song, "Arrasta O Pato" is driven by a snare/kick zouk beak. Two synths carries the run; one bass/harmony the other a high-pitched melody. During the second section tarraxo feel is added as a scraper swings and while djembe fill accent the fourth beats. Lower half, by this point should be prompted to have moved outward as ducks waddle towards the dancefloor. After all, kuduro is the stiff-ass dance music.  A third section is added where the melancholy synth is replaced with strings. Critically, however, are two points. First is that each section - introduction included - could be a loop shorter and still have the same effect. Second is the issue of mastering. Although an argument can be made for authenticity and rawness, the author does not feel as such. Where biases are concerned, though, he also acknowledges acoustic instruments would not be held to the same standard.

Straight forward and effective from an otherwise, low-key technical DJ with an apparently high ceiling to be raised.


Notable Mention: Dj MarinO [B.S Produções] - "Sapo"

Similarly, the second selection is concerned with nature.

The only difference is a change from birds to amphibians.

Recently featured, Dj MarinO has continued to ride the wave of momentum he has created for himself. Titled "Sapo," the producer's latest track is a fast kuduro/batida released two days ago identified by subtle shifts. Both labels are given because each corresponds to a different element.  Rhythm is driven in equal parts by the bass and, to the author's ears, and indistinguishable metal piece of percussion. Subwoofer frequencies vary from a four-to-the-floor to an Angolan bounce. A frog's ribbit is sampled alongside two other faint vocals  in a fashion similar to Mulatoh and certain LyCoOx tracks; not quite footwork, but related. Similarly, a whistle - already juggling melody and rhythm - undergoes a change as well. As a result, the diminutive element is able to carry a heavier groove. The batida aspect comes in where the structure is concerned: Introduction-A-interlude-B-interlude-C.

Good, creative effort.




- J.N.

A Noggle Brain Trust, LLP. website

Big Vado [DDPR] - "Funana Demo 2015"

Never correct course.

To be earnest and steadfast is only the sign of a good captain.

Dangerous objects, however, should still be skillfully avoided. Icebergs are chief among maritime dangers; these frigid monstrosities, though, are far from the only threat to a well-meaning, seafaring vessel. Coastlines, just as well as reefs, are stealthy. As such, any and all fermented drinks are to be avoided. Trenches may be deep but the effects of an oil spill run far deeper. And yet, what is most important to note is that Conrad's friend Jim was not always a Lord.

Composure during stressful times is of the essence.

In just such a tradition, the author has made the strong-headed decision to double down. For the past three months there has been a running joke on these pages. Good or bad, long or short, recent or ancient any and all funana tracks seem to be featured. High profile sounds are pushed aside. In lieu of reaching more readers, relevant releases are prematurely preserved. And, as such, the present is no exception.

Just one week removed from the last post of such a nature, some fresh funana has surfaced. Moreover, today's primary selection features the same crew, Djs di Puro Ritmo. Released over the weekend what can be heard below is a dupla. Although, strictly speaking, "Funana Demo 2015," is a Produtor Big Vado track, the tag for Dj BlackinhO can be heard alongside similarities to last week's "Funana Batucada." The bass kicks a four-to-the-floor while two accordions are used for harmony and melody; the latter of which spans a healthy sixteen beats until a teased change near the end. A sole snare drums creates the primary rhythm while a crash cymbal is heard, somewhat irregularly, every couple of bars.

Effective as a sample, likely better as entre.


Notable Mention: MC Capps & Dj EDÝ [B.N.P.B] - "Funana Kenti Kenti"

The follow-up portion, likewise, revisits a recently featured beat-maker.

Unsurprisingly, the funana theme is maintained as well.

As part of his return, Dj EDÝ has steadily been feeding listeners' ears. Last week alone saw two novel releases from the Black 'n' Power Beats mainstay. First - a song, tentatively titled "Preview - Tarraxo - 2015"  - is notable on its own. Typically sparse and destitute, the tarraxo in question relies on a hi-hat cymbal as the rhythmic foundation for good reason; arrangement is of the essence. No sound is to be overshadowed. Strings are used both for rhythm and harmony, only to be joined by the lackadaisical strumming of an electric guitar. Plenty of percussion is heard, however, with chains syncopating on the up-beat and additional drums fills maintaining the polyrhythm strong.

But the song below is much different. Released the following day, "Funana Kenti Kenti," sees EDÝ cross some open EU border; joining up, in the process, with a Parisian by the name of MC Caaps. Alas, it should also be noted that "Funana Kenti Kenti" is not the first song of such a nature for which Puto EDÝ is responsible. Like last year's "Funana," what follows is not only busy, but successfully combines the modern with the traditional. As a kick drum carries the grooves, a metal scraper and woodblock syncopate. But the song is question moves fast. Despite the sixteen beat bars, changes  rapid and frequent. Suddenly, the succinct accordion is met with a longer, high-pitched synth and the clicks of a digital snare. Structured as Introduction-A-interlude-B-bridge-C-B, the impression is given of producers juggling their verses. Where A and C correspond to accordion and MC Capps, the interlude, bridge, and B correspond to synth and EDÝ.

With enough hot air written to create a new trade wind already, the author will simply say that there is nothing bad to say here.


- J.N.

A Noggle Brain Trust, LLP. website

Dj MarinO [B.S Produções] - "Reborn"

Journeys are never mysterious.

By now, the ending is well known.

Even Willie and Merle's road must eventually return to where it once started. The prodigal son in his own right, but not nearly as famous as his patented return home. No further evidence is necessary; or so the author feels. Something not unlike a pattern has presented itself. The world is a cold and vacuous place; and only Penelope's shroud can provide the warmth necessary to avoid cruel and foreign illnesses. Alas, the journey is always necessary. It is not difficult to imagine Magellan saying he would do it all again in an interview from the great beyond

Even the Dhammapada says that "When, after a long absence, a man safely returns from afar, friends and well-wishers welcome him on arrival."

More important, though, is the succeeding passage, which reads, "His own good deeds will welcome the doer of good." For just such a reason, then, the author has chosen to celebrate two triumphant returns. Dj MarinO first appeared on these ages nearly one year ago, and not much since then. Alongside the ubiquitous LyCoOx, this albiguously independent beat-maker cut a genre-bending track with flashes of hardstyle/EDM amidst a heavy afro-house swing. Such was the case with the "Funk VS MoOZart", as well. The classical music composer is heard from, as can be expected, but the track is able to combine not just an Angolan rhythm but some baile funk as well; a sound recently heard on Nidia Minaj releases as well as NedwytFox.

Then, for the first time in 2015, MarinO resurfaced two weeks ago with a song titled "Quebra." While not nearly as adventurous as the above examples, the song is a fast, strong afro-house/kuduro. Cymbals and shouted vocals switch of on triplets although the djembe swing is the rhythmic highlight and marimba steals the show at the end. Additionally, a second song was released that same day. Titled, "130" the song is unsurprising in its speed; albeit tamely subtle. Hi-hat carries the foundational rhythm while skipping the last beat. Shakers syncopate and a distant drum accents the second beats. But this track distinguishes itself in being a batuco. The melody is slim. A similar bassline to the one on the LyCOox track is heard as well as a rolling djembe, which proves to be more than enough.

And then there is "Reborn." Released late last week, what follows in more in line with the experimental vibes from last year's MarinO. Keeping in tune with recent developments, though, the track is of similar, demo length. Yet, "Reborn" seems more developed as well. Following the introduction, the track develops in a straight line and is interrupted only by a brief interlude; a new element added with each progression. In such a sense, the song recalls Black Starz Dj's in the added important each sound takes on. Begining with an afro-house snare rhythm and a quick, punchy bass, MarinO quickly adds a sixteen bar, kizomba piano section. Although quickly eliminated, the ivories are quickly replaced by male vocalization reminiscent of the Middle East and, appropriately enough, 56 Nights. Splash cymbal marks the fourth notes as a Brazil is revisited. Cuica rolling over quarter notes only to be replaced by hi-hat triplets. Djembe fills are ultimately added as the song does not complete a circle so much as create an elaborate parabola.

A very good song, but the download to all three is highly recommended. Certainly a producer to watch for.




Notable Mention: Dj EDÝ [B.N.P.B] - "Estou de Volta" 

In similar fashion, another beat-maker makes a triumphant return

Although, granted, this absence was not nearly as long

In the author's estimation the new B.N.B.P. logo is fire. Appropriately, the Dj EDÝ track is just as feverish. Two weeks removed from his last appearance, the young producer has shared kizomba/afro-house track titled "Estou de Volta." The track is far from an instrumental in need of vocals. A quintessential pop structure is absent. Following the introduction, the song progresses A-B-C-B-C-interlude-A-bridge-B-C where the second section is the head and the third is the chorus. Snare serves up the quick, foundational beat as the hi-hat swings and a cowbell-fill rounds out fourth beats. Bass comes to serve the rhythm and melody in equal parts. Synth harmonizes while acoustic guitar carries the melody. A second harmony synth is heard on C in addition to one for melody and some MIDI horns.

All in all, the gunshots at the beginning are merited.



- J.N.

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