Cliquem no scan abaixo para ler em contexto.
Click scan below to read full piece in context.
As could be expected, Malucos De Raiz is vibrant and slippery. Tempos duck and dive, dropping to 100 BPM for a couple of seductive tarraxo numbers. “Safadas Da Noite” is particularly arresting, its slinky beat cloaked in sinister reverb. Melodic moments sometimes stand out, as with “CDM A Comandar”‘s fidgety marimba line, or the synth-horn that hammers away at a single note on Maboku’s brilliant “Laranjas.” Mostly, though, the drums—those rolling, gravity-defying grooves that make the Lisbon sound so distinctive—steal the show.
Nidia Minaj is something of an outlier, having moved from Lisbon to Bordeaux when she was 14. Her style, as represented on Danger’s eight colourful tracks, exists in its own parallel world. With the exception of the tumbledown “Aidin,” rhythm takes a back seat to synth work: pristine chords “Afro Master,” weird, rubbery leads on “Estúdio Da Mana Na Casa,” weepy synth-strings on “Sentimentos.” Structures can be volatile, and Minaj often sets up strange, unstable combinations. “Mambos Fudiz”‘s neck-snapping beat contrasts with the slivers of trance synth hovering uneasily up top. On the darker “Limite,” similar synths take on almost Hoover-like qualities. These elements are brought together most effectively on “Puto Iuri,” but it’s equally fun listening to them jostle for supremacy elsewhere.