Cliquem no scan abaixo para ler em contexto e ouvir a música

Click scan below to listen and read in context

NIDIA_Puto Iuri_Pitchfork

By Andy Beta

That teenage girls the world over draw inspiration from the force that is Nicki Minaj is a given. And many teens might even take to the mic thanks to her inimitable example. Yet the Portugal-bred, Bordeaux-based producer born Nídia Borges might be the only 18-year-old embracing her diva role model by applying truffle butter dexterity onto the beats themselves. Or “batida”, to use the parlance of Lisbon’s Príncipe imprint, who just released Minaj’s debut 12″. There’s a double-Dutch skip to “Puto Iuri”‘s snares but with a hitch to its steps, quickly tangled with a hand drum. An air horn bleets and the synths flare at the edges of the spare track, showing an assured if brief example of Minaj’s way around such a slippery beat.

——————–

Cliquem no scan abaixo para ler em contexto e ouvir a música

Click scan below to listen and read in context

Nigga Fox Um Ano_Pitchfork

By Philip Sherburne

To foreign ears, the signatures of all these sounds may be hard to identify, but even at their strangest, there’s an uncanny sense of familiarity, too. Loping four-to-the-floor kicks and glancing synthesizer stabs faintly recall styles from closer to home. It sounds almost like techno—if techno were a tower of Jenga blocks that had been knocked over and stacked up in some wild, gravity-defying new formation.
DJ Nigga Fox summed up the situation when he titled his debut EP O Meu Estilo, or My Style, and with his new EP for Lisbon’s Príncipe label, he proves once again that he’s in a league of his own. “Um Ano” (“One Year”) actually sounds made of wooden blocks, as hollow triplets clatter over a booming bass drum that sounds like it might have been carved out of a waterlogged tree trunk. But this is no forest idyll. The melody slips nervously between the notes, like a synthesizer mapped to a game of Chutes and Ladders; at peak moments, reverb flashes on like a tractor beam, freezing everything in its path. The vocals are just a monosyllabic “Oh,” looped into stuttering patterns. They don’t need to say anything; the beat says everything it needs to, even if you don’t know what to call it.

——————–

Cliquem no scan abaixo para ler o artigo completo.

Click scan below to read. Portuguese only.

NIDIA MINAJ_ipsilon

Por Mariana Duarte

Quando não está a fazer batidas, Nídia Minaj está sempre a pensar nelas. “Estou a falar contigo e já estou com ideias para uma batida”, diz ao telefone a partir de Bordéus. “É um vício, como fumar cigarros. E eu tenho de alimentar o vício”, conta, como se a sua vida dependesse disso. Aproveita os intervalos de almoço da escola (anda no 11.º ano) para se enfiar no quarto a fazer música – “às vezes até falto à primeira aula da tarde por causa disso” – e está sempre com beats na ponta da língua. “Estou constantemente a fazer melodias com a boca, como se fosse beatbox, e depois tento passá-las para o computador.”

NidiaIpsilonMar13

——————–

Follow

Get every new post delivered to your Inbox.

Join 53 other followers