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principe sou eu - pilot

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Colaboração mensal da Príncipe com a rádio da RBMA durante o ano de 2016. Um programa de uma hora, que terá sempre pelo menos uma mix exclusiva de 30 minutos feita por um dos DJs da nossa família. Para além disso, esperem rodagem de material inédito.
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We are excited to announce a collaboration with RBMA Radio for the remainder of 2016. A one-hour monthly show which shall always feature at least one 30-minute exclusive mix by one of our artists. Other than that, expect unreleased material on rotation.
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RBMA pic

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Cyclic Defrost Marfox

Words by Bob Baker Fish

DJ Marfox’s first EP, 2011’s Eu Sei Quem Sou was a bolt out of the blue. It was also the label’s first release, and heralded the emergence of a new electronic sound that was distinctively Portuguese – rough and raw electrics, influenced by the frenetic rhythms of Angola. Marfox is something of legend within the scene, with many subsequent musicians taking on his fox moniker as a sign of respect. Listening to this first missive you can understand why. This was the sound of hope, expression and creativity in the outer suburbs of Lisbon, precisely at a time that the entire continent and particularly Portugal were in economic decline. This was something new, something progressive, something of their own.

The opening track of Chapa Quente, 2685 couldn’t be more different from its predecessor, it begins straight out of a club, all hifi rave sheen, 4/4 beats, handclaps, and it’s difficult not to freak out a little, and ponder what the intervening years and surge in popularity done to Marfox. But these thoughts dissipate as quickly as they arrive as he continues to layer the ingredients, the frenetic polyrhythmic hand percussion and a hyperactive flute helping the piece to evolve into an overwhelming, somewhat woozy and frenzied slab of inspired off kilter dance music. This is forward thinking club music. Make no mistake though, it’s still very much Marfox and it’s pedal to the metal, and with its humour and hat tipping to rave culture it demonstrates that Marfox’s focus has expanded outwards. Perhaps the title of the second track, the wonky reggae inflected ‘Unsound’, might give away how far his focus has shifted, referencing his time at the Polish festival. Yet this is not a bad thing, as there is no way that these two pieces and indeed the remainder of the EP could’ve come from any other artist in or outside Portugal. Marfox consumes reference points and integrates them into his own musical world like few others.

‘Cobra Preta’ (Black Snake) is another balls to the floor percussion workout, with an insistent whistle and repetitive vocal sample it’s pure dynamics that you can only imagine being grist for his live show. In fact the dancefloor seems to be very much a focus for Marfox, yet it’s his unique ability to seamlessly integrate the hand percussion or marimba samples, the wooden hits and rumbles with these clipped insistent and raw electronics that is entirely unique and unparalleled. The final piece, the stilted wooden ‘B 18’ seems like its locked in a groove yet it expands almost miraculously outwards and before long we’re back on the dancefloor, albeit with strange almost tribal ingredients. Yet this is the miracle of Marfox. His ability to shift time and space is unsurpassed. We knew he was one to watch in 2011, yet now it’s 2016 and I wouldn’t dare my eyes or ears away for a minute. Something important is happening.

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Juno chapa quente

Along with DJ Nigga Fox, DJ Marfox has been the emblem of Principe’s rise to fame, the Lisbon label that has been causing a stir in the house and techno world thanks to its new and quirky take on the genres. More than anything, it has been the injection of African rhythms and all-round craziness that has earned these rhythms such fame, and thankfully this test EP by Marfox is just as bold and curious as the rest. “2685” is a flute-driven monster that has more in common with a tribal dance than a techno cut, and the same goes for the ear-shattering bullet percussion chops of “Unsound”. “Tarraxo Everyday” slows the momentum down to a steady pace, “Kassumbula” oils the machines back up and gets the motors going for the heavy pounding that features on “Cobra Preta”, while “B 18” takes us down the final hurdle, a broken groove with plenty of tribal fury and Marfox’s inimitable pace. Unmissable.

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Pitchfork 2685

Words by Philip Sherburne

“2685,” the lead single on DJ Marfox’s first EP in nearly two years, begins with a bright, buzzing synthesizer that’s not too far from the sound of “Terra Batida,” the triumphant opener on 2014’s Lucky Punch EP. Between that screaming lead and the rapid-fire four-on-the-floor kick drum that accompanies it, it briefly appears that we may have stumbled into a Lowlands rave, circa 1995—a long way from the slinky, Lusophone-disaporic batida sounds we’re accustomed to hearing from the Lisbon producer. Don’t be fooled by the fake-out, though, because we’re soon thrust into a polyrhythmic maelstrom as turbulent and as richly textured as anything he’s done to date.
The centerpiece of it all is a careening flute melody that surges up and down the scale, practically tripping over its own tail in the process. It sounds vaguely South Asian in origin—perhaps a callback to Marfox’s roots in Lisbon’s Quinta da Vitória, a former shantytown, now converted into cement government housing, where immigrants from São Tomé e Príncipe and Cabo Verde lived alongside Indians, Pakistanis, and Hindus from Mozambique. And then there are the drums: rolling, ricocheting, going full tilt—threading tightly knotted triplets through loosely woven syncopations, and answering low, clanging toms with the antic chatter of small, leathery hand drums. Toward the end of the track, a distant voice cries out as if across a vast chasm, and you can only agree; few songs feel more like being catapulted through the air at tremendous velocity.

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