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
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