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
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