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