Nothing gives me more of a charge than finding the source of a sample “in the wild”. And this is about the last one I thought I’d ever get an ID for, but I think I have it. It’s that deliciously goofy “oh no” vocal sample that so eloquently punctuates Ynfynyt Scroll and C.Z.’s scorching zouk bass dancehall chiller, “Danca Grave”:
A couple of days ago, I featured a mix of what some have begun to refer to as Portuguese Bass. I won’t pretend to really have my finger on the throbbing pulse of what’s going on at the cutting edge of Lisbon’s suburbs and the ghettos of Luanda. All I have to offer is a chain of musical comparisons and observations. I will admit that none of this remarkably accomplished, yet still rugged and experimental material would be on my radar right now if it wasn’t for Buraka Som Sistema.
Buraka Som Sistema – Sound of Kuduro
A key word here is Kuduro. In 2010, reggaeteonero Don Omar teamed up with Portuguese-French pop star Lucenzo and put out Danza Kuduro, a track which, at least in Dominican clubs and dance parties, continues to get rinsed four years later. On YouTube it has almost 590,000,000 views.
Don Omar – Danza Kuduro ft. Lucenzo
While not the aggressive class of street-level production found in the mix from last last weekend’s post, it offers perhaps the only example recognizable to many Americans of a track driven by kuduro’s saturated, slapping sort of snare (or is that a handclap?) in a stuttering pattern that resembles a sped-up reggaeton.
Perhaps appropriately, some of the best Kuduro tracks are remixes of American top 40 hits and club tracks. Here’s DZC’s remix of Baauer’s 2012 viral sensation, Harlem Shake:
Dizona Crew (DZC Deejays) is one of the most consistently impressive sources of African bass music to capture my attention in years. It’s a remarkable feat to have such quality control when you consider the sheer volume of output available from them and the frequency of releases.
The latest installment of the excellent RhythmExplorers series features 50 minutes of choice DZC material
The thing about DZC is that their musical trajectory follows the colorful, unscripted, raw trajectory that has always been a hallmark of electronic dance music but which, it seems to me, has enjoyed a revitalization thanks to the variety of channels and increased diversity of influences seen as the web, well into its third decade, finally begins to deliver on the promise of a truly global musical conversation between artists in the form of DJ Mixes, podcasts, remixes, refixes, flips, rubs and versus tracks.
Munchi – Pun Ain’t Dead (Emynd Remix)
While not an example of the kind of music DZC makes, Philadelpha producer Emynd’s track is a remix of Pun Ain’t Dead by Munchi, a Dominican musician living in Rotterdam. The original and remix feature samples from Puerto Rican rapper Big Pun’s track 100%, the hook of which is comprised of a sample from the 1973 track, El Día de Mi Suerte by salseros Willie Colón and Héctor Lavoe. When did we start seeing tracks like this that span 3 genres and 4 countries?
Munchi recently very conspicuously featured a track on his Facebook page by the one and only DJ Chuckie, proclaiming, “this is my shit!”
For those of you who ain’t know, Munchi IS MY SHITTTTTTTTTTTTTTTTTTTTTTTTTTTTTTTTTTTTTTTTTTTTTTTTTTTTTTTTTTTTTTTTT. Observe:
Munchi – Pun Aint Dead
Tell us with a straight face, that the 300th time you heard Eddy Lover champion reggaeton’s softer side, crooning ALGUUUUNA VEEEEZ, you didn’t pine for someone else (besides Nigga) to come along and progress the genre further into uncharted club music territory
La Factoria – Perdoname ft. Eddy Lover
What could possibly emerge to fill the void? Enter Moombahton.
Nadastrom & Sabo – The Union BBQ Mix
While this is the first mention of Moombahton inna disya website pon de intanet, it will most certainly not be the last.
Check out this nicely-balanced showcase of artists currently working in the genre. While it’s not exactly a who’s-who of the Moombahton‘s founding figures, that fact, and the truth that there are still this many good new examples to be found, are testaments to its veracity as a genre:
Various Artists – Original Moombahton Vol II
Here is a download of the Union mix:
And just for fun, here’s a Moombahton remix of an awful song that came out the year I graduated from high school:
Christina Aguilera ft. Redman – Dirrty (TMH & Nick Mathon Moombahton Bootleg)
Yesterday I wrote about DJ /Rupture and his contribution to the canon of the amen break. It should be noted that his work goes far beyond that narrow facet of electronic music. You may have noted that Gold Teeth Thief features the instrumental for Oochie Wally by Nas. This, in turn, is made up of samples taken from an album many consider an example of the orientalism inspired by the hippy movement.
Gong – Bambooji
While some artist would be content to allow “Middle Eastern” music of western origin such as this to a inform their aesthetic, a perusal of /Rupture’s output reveals that this is not his MO. If you had listened to his Mudd Up radio show, you would have noticed just how authentic his selections from this part of the world are.
Azeddine – Choufou Zwaj Lgawria
If it wasn’t for DJ /Rupture I would never have heard Chaabi artists like Azeddine and been aware of Moroccan, Algerian, and Berber people’s strange and beautiful love affair with auto-tune.