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p018

Vinyl 12″
Written and produced by DJ Nigga Fox;
Mastered by Tó Pinheiro da Silva, Artwork by Márcio Matos;
Released February, 2017;

VINYL/DIGITAL: Order from us

A1 – 15 Barras

PRESS RELEASE

“15 Barras” is a musical track Nigga Fox made for an art installation with Príncipe that eventually fell through on the commissionership’s end. This long form composition is a first for the Luanda born, Lisboa resident, which he architected from scratch on his blank FL canvas without any specific conceptual gage in mind.
Marfa Journal asked him last year what was his secret ‘to making it [his music] sound so good’. He simply replied: “Imagination.”

Vinyl 12″; individually hand-stamped copies available via Bandcamp only.

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Produced as the soundtrack to an unrealized installation, “15 Barras” is a 15-minute track pressed as a one-sided 12-inch. That’s different to how Rogério Brandão, AK DJ Nigga Fox, usually does things. Brandão often has an eye on the dance floor, but “15 Barras” is more exploratory. Followers will be familiar with its elements—chopped vocals, tense percussion and a stripped-down sensibility—but there are also unexpected sounds, like noisy passages that swell alongside loops and droning strings.

The piece’s most interesting aspect is its movement through at least four distinct passages. The first and shortest consists of vocals and synth hits, and could be the intro of one of his club tracks. But instead of kuduro syncopation, “15 Barras” evolves into a drumless acid cut. It then eases into an anxious, rhythmic, cinematic jumble, which transforms into a playful, rickety dub with a clanking beat. “15 Barras” may not have been presented as originally envisioned, but it’s provided an outlet for Brandão to stretch out as an artist.
Resident Advisor, February 2017

Sequenced vocal clips collide to become a chant while a consistent gurgle builds below. There’s a steady sense of certainty that emerges from the acid. Voices of the crowd interject and the hustle and bustle rises like the beginning of Marvin Gaye’s Got To Give It Up only here the crowd’s interjections distort, repeat, and swell. Time and time again, natural noises turn ever-present through repetition and manipulation. An eerie tone becomes a feature, underlining the groundswell of the crowd and finally a strain of natural percussion – bongos – drill into the scene and are looped and repeated endlessly. Finally a less than dynamic descent from the crushing crowd of the climax.

The result is a near sixteen minute exemplification of what label Principe calls “100% real contemporary dance music.” 15 Barras is a controlled vision, complete in its scope and execution that is an absolute joy to experience. It’s communication is clear and its effect is actualized, perhaps sooner than the length of the track infers. Miles Davis’ On the Corner via a Windows computer, DJ Nigga Fox’s latest manages to be anxiety inducing and soothing simultaneously as it confounds and reassures the listener with ease and poise.
Shufsounds, February 2016

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Unbenannt-2Unbenannt-4

Vinyl 12″ / Digital
Written and produced by Niagara;
Mastered by Tó Pinheiro da Silva, Artwork by Márcio Matos;
Released October, 2016;

VINYL/DIGITAL: Order from us

A1 – Asa
A2 – IV
B1 – Amarelo
B2 – Laranja

PRESS RELEASE

Niagara started 2016 firmly committed to their own Ascender label, having released a first 12″ late in 2015. A string of stellar CDRs guaranteed their relevant (and private) output became available outside their studio. The consistency is such that it was no effort selecting 4 additional tracks to assemble a third EP on Príncipe.
Opener “Asa” is strong on keys, suggests a cool jazz walkabout where the machines and other instruments seem to be jamming together without interference. This broadens the horizon of whoever thought they are a House band;
As countless other dance tracks, “IV” is built around a steady kickdrum, supporting a succession of vibes hitting left and right, obeying only the illogical architecture of Niagara’s sonic world;
“Amarelo” is the longest track in the set. Very physical and expansive beats, a funky guitar groove, deep bass tones and it ends just like that!
A cascading drum machine holds its own, then comes a wandering flute and passing waves as jets in the sky. Trippy and brilliant, “Laranja” changes coordinates and points to a fresh destination.

Vinyl 12″; individually hand-painted, hand-stamped copies available in Portugal only.

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O início de ano fulgurante, por parte dos Niagara, abrandou nos meses de calor, mas unicamente porque há trabalho a fazer. No que se refere apenas à música (e a vida é bem mais que isso), os métodos mudam, há experiências constantemente a ser realizadas, instrumentos diferentes acrescentados ao lote e uma curiosidade enorme por parte dos três Niagara (Alberto, António e Sara). Eles próprios mudam o seu jogo, forçam-se novas questões para serem obrigados a novas soluções, e “São João Baptista” reflecte admiravelmente o que está diferente desde a última vez. A ideia de techno ou house está muito difusa, aqui, e recebe-se com naturalidade uma incorporação que diriamos bem próxima do jazz, tal como, em “Amarelo”, um intensificar do seu enamoramento por um compasso que já levou alguma imprensa a aproximá-los de um cenário pós-punk. O EP avança a estética, prende também mais à terra o ouvinte, com blocos de som bem concretos. A acústica é maravilhosa em “São João Baptista”, muitos deslizes por muitas plataformas e, se o som pode eventualmente soar austero, acreditem que se trata de diversão. Clássico instantâneo, e não o diríamos se não acreditássemos 100%.
Flur, October 2016

OK they may display shades comparable with Hieroglyphic Being at his bendiest, or even traces of Pop Dell’ Arte in their musical DNA, but there’s some defiantly offbeat and textured to the bittersweet, cranky yet playful jazz-house of Asa, and even when they simply put a big kick under it, like with IV, they still manage to make it sound warped in their own image; a proper grinning/gurning fizzog.
When they lock down to a beat, they really juice it for all its worth in burred, ferric disco psychedelia of Amarelo, but equally know how to swivel your bones in distinctly fresh but tribalistic style with the splayed snare patter and lysergic, flanged-out flute tickles of Laranja. Whatever, they’ll make your ‘floor feel weird and bring out the best dancers.

Boomkat, October 2016

São João Baptista introduit ainsi de nouvelles influences dans la musique du trio : on trouvera des réminiscences jazz dans les notes égrénées de clavier d’un « Asa » se rapprochant de Tortoise, ou des inflexions presque krautrock dans l’excellent « Amarelo », porté par une basse puissante. La répétition règne en règle, emportant l’auditeur dans des cercles sans fin sur lesquels se greffent progressivement de nouvelles textures, de nouvelles nappes : « IV », probable sommet de l’EP, s’apparente ainsi à un exercice de style provoquant un progressif dérèglement des sens, autour d’une mélodie insistante et lentement modulée. « Laranja », étrange écrin percussif sur lequel se superposent des touches vaporeuses, s’impose finalement comme conclusion idéale d’un EP intrigant et original, qui témoigne – si cela était encore nécessaire – de la vitalité de la scène portugaise actuelle.
SeekSickSound, October 2016

Niagara, one of Principe’s biggest acts (along with DJ Marfox) returns to the label with a tasty four tracker of brand new material, their third on this cult Portugese beats and bass label. Principe spearheaded a new sound a few years ago, taking cues from cumbia, raggaclash and kuduro; ‘batida’ (instrumental kuduro) was metallic, harsh and aggressive, but also had this undeniable groove and sound system friendly aesthetic that would see it find favour across much greater circles than its native Lisbon. If kids in south London were turning to the grime / dubstep template to let off steam, then this is what the inner city kids of Lisbon were flexing; it’s all punk rock anyway! “Asa” signals the start of this new collection of songs, haphazardly concocting up a tropical but rambunctious drum template, Niagara layers up nice keyboard flurries, squelchy synth stabs and waxy (synth?)-Rhodes lines. A modern and tropical take on the hardware driven vibe and effortlessly done. “IV” is up next, my personal favourite with its lysergic vocal delays, full frequency rub down and catchy, off-kilter rhythm. Flip and “Amerelo” comes charging in, like a batida version of Moodymann’s “Dem Young Sconies”. Corrosive as hell and begging for big speaker action, blasts of white noise seal the deal as this superior dancefloor destroyer. Finally, “Laranja” returns to the controlled chaos of first track, seemingly random drum artifacts flying through the mix and littered with fx. Through this chaos a mystic (possible India) flute line slowly makes itself audible. This is like Suns Of Arqa on crystal meth pop pickers! Frenzied drum programming meets spiritual flute raga…. mind blowing stuff indeed!
Piccadilly Records, October 2016

Unlike the Príncipe label’s core Afro-Portuguese artists, Niagara take cues from the European club scene. The trio’s house music remains deeply eccentric, though, its sonorities bright and its rhythms ramshackle. Their third EP for the label, São João Baptista, a scrawl of clapped-out drums and spidery guitars, highlights their idiosyncrasies. Sonically, the trio have found new ways to make the analogue and the electronic sit well together; stylistically, their mutant-funk tendencies are given freer rein.
On “Asa” they’re positively free range. The track’s kick drum foundation is solid, but the erratic conga hits, sour Rhodes chords and vintage funk lead seem to be following their own respective agendas. The results recall Miles Davis’s fusion era at its knottiest. “Laranja” uses live instrumentation less effectively. In this case it’s a flute, pirouetting coyly around whooshes of filtered synth. The drum machine holding it all together is swung to the point of stumbling, and the overall effect is aimless rather than oblique.
The rest of the EP is loopier but keeps the anarchic feel. “IV” focusses on the interplay of synth parts—tart chords, a squelchy bassline, wandering midrange melodies—that are slowly blurred together until the whole mix is a pungent smear. In the distance, a voice mumbles and shouts through a hailstorm of delay. “Amarelo” is a garden shed reboot of big-room techno. The bashing 4/4 is there, along with rising klaxon tones and snares that whip up cresting waves of white noise, but the guitar loops on top are janky as hell.

Resident Advisor, November 2016

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Unbenannt-2Unbenannt-4

Vinyl 12″ / Digital
Written and produced by DJ Nervoso;
Mastered by Tó Pinheiro da Silva, Artwork by Márcio Matos;
Released October, 2016;

VINYL/DIGITAL: Order from us

A1 – Vuto
A2 – Ah Ah
A3 – Avacs
B1 – 27aca
B2 – Djj
B3 – KUIA

PRESS RELEASE

We can’t stress enough the importance of finally releasing an EP by scene originator DJ Nervoso. This release features newer tracks alongside unreleased older (we should really say Classic) ones, demonstrating the level of perfection he attained early on. Nervoso is the main reason why DJ Marfox, DJ Firmeza and many others started deejaying and producing, hooked on his fiery DJ sets since they were barely in their teens, around 2001-2002.
He is well known for a bare bones approach to rhythm, working the basic hypnotic feel of pounding drums to mesmerizing effect, in his permanent quest to make people move. His sound is meant to unite, not divide, the dancefloor. Even before he started producing, Nervoso was quick to perceive that some people were alienated in parties where Angolan kuduro got played, for the simple reason they didn’t command the specific moves associated with the style or its variations. So his production focused on adapting the beats of this much-loved dance music, changing the codes for a more inclusive experience. Some call it techno.

Vinyl 12″; individually hand-painted, hand-stamped copies available in Portugal only.

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Para quem está activo agora na cena musical que gira em torno da Príncipe, DJ Nervoso começou tudo. Foi pouco depois do início do século, e as festas em que tocava tornaram-se lendárias na comunidade, conseguindo ele o privilégio de ser um dos raros DJs a ser requisitado para tocar em diferentes bairros. O nível de intensidade da sua música nem sempre foi bem compreendido, provocando por vezes alguma desordem nas festas. Mas para ele essa música sempre foi uma energia feliz, transbordante. Nervoso adaptou o padrão do kuduro angolano para poder tocar a batida sem alienar as pessoas que não sabiam dançar os passos certos associados ao género. Despiu a estrutura e, como se pode ouvir na sublime “27aca” (quarto clip de som), criou uma espécie de techno com base africana. Ouvimos algumas coisas de, por exemplo, DJ Firmeza e DJ Marfox e percebemos bem melhor o que eles querem dizer quando assumem a influência das batidas do Nervoso. Apesar dos anos e da autoridade, este é o primeiro EP em seu nome. Nervoso foi convidado a entrar na célebre compilação dos DJs Di Gueto em 2006, eles próprios influenciados por ele, juntando-se assim ao seu ídolo, mas a sua abordagem à produção sempre esteve mais ligada às festas em que ia tocar e não tanto ao desejo de reunir música para edições. Ele ri-se e diz que, normalmente, as suas faixas de que as pessoas gostam são as de que ele menos gosta. “Ah Ah” corre a um ritmo mais lento e tem a sua voz, em directo, a acompanhar a batida, parecendo ao mesmo tempo em esforço e alívio. Vão ouvir esta música poderosa feita na nossa terra, achamos que é importante.
Flur, October 2016

We can it on trust that when Príncipe say “We can’t stress enough the importance of finally releasing an EP by… DJ Nervoso” that they really mean it. As a DJ in Lisbon for days, his sets inspired DJ Marfox, DJ Firmeza and many more to take up DJing and production in their teens, so basically the guy deserves a drink from everyone who’s ever danced to their records.
Effectively a mutation of Angolan kuduro made to unite Lisbon’s mosaic of African, Latin and other heritages, DJ Nervoso’s sound is stripped to the bare bones and built to bang in the kinkiest, mesmerising style, putting the ‘floor thru its paces between the knotted funk of Vuto, the grinding dagger of Ah Ah and what sounds like the maddest Chicago jack track you’ve never heard in Avacs, with helplessly infectious stuff in 27aca, the tucked-up techno of Djj, and an outstanding freak called Kuia.
Like most other Príncipes 12”s, and the DJ Marfox compilation, the record is cut at 45rpm, meaning there’s a whole tier of 33rpm fun awaiting the DJs and dancers. TIP!

Boomkat, October 2016

A siren heralds the coming of first track, “Vuto,” which sashays forward with shuffling drums, guttural yelps, and a thick bass line. A shaker provides texture, the track pogoing gleefully, new rhythms appearing and dissolving. Much of the album operates in this modular style of propulsive, lucid minimalism. Nervoso generates drama by varnishing and stripping layers of syncopation and texture from his tracks, revealing works that have been sheared to the bone, sinew and rhythm replacing melody and flesh.
Second track “ah ah” best exemplifies Nervoso’s abraded approach to songwriting. It consists almost entirely of a spine-straightening snare crack, a loping kick, and Nervoso’s vocals. Audacious in its simplicity, it brims with ebullience, its dembow-like sway conveying a levity reserved for the hands of a master. The album’s other tracks hew more closely to recognizable kuduro structures, their skeletal forms morphing into kinked, juddering drum tracks (“djj”) and hypnotic, subterranean excursions (“27aca”). The drums on the latter are particularly mobile, flowing across it like the hands of a masseur, kneading and twisting around the beat, travelling alongside it for a measure before surging off into the distance.
The whole album is suffused with this nomadic, kinetic energy, the sense that, at any second, a track could veer off course, picking up momentum as it launches itself into the ether. One imagines DJ Nervoso tinkering away at his computer, carefully crafting his sonic automata, installing gears and levers, drums and claps, before filling them with current and watching as they duck and weave, jab and feint. Swaying from side to side, these quasi-humanoid tracks — all torso and limb — topple over and right themselves in ever quickening loops, their faces distorted by Nervoso’s pulsing, giddy momentum.
These are virulent, mutant dance tracks, and Nervoso their Dr. Frankenstein. When I saw him go back-to-back with DJ Marfox at Unsound, the sense of joy in the room was palpable; the two producers gleefully looking over each other’s shoulder as they selected the next rhythmic assemblage to unload on the febrile crowd. In a sense, they were staging Nervoso’s original intervention, transmitting kuduro across the generations to kids hungry for something to dance to. There’s pleasure to be found in the contamination.

Tiny Mix Tapes, October 2016

He’s one of the most underrated DJs on the planet, and these 5 grooves tell you everything you need to know. There’s hardly anything to them- just sets of Fruity Loops drum patterns marching on and on in with zero fucking about. He’s barely bothered to process his hits, there’s a minimum happening at any point, and somehow the result is hard, knocking dance music that could wake the dead. If you’re getting sick of fussy production and tracks built from tricks more than ideas, Nervoso is the antidote.
The Ransom Note, November 2016

In the near mythical folklore surrounding Lisbon’s Principe Discos, a DIY label celebrating the raw urban electronic Kuduro, batida, kizomba, funaná and Afro house influenced music that evolved in Lisbon’s outer suburbs, Nervoso stands tall. Whilst Marfox is generally credited with being the main instigator of the scene, Nervoso was there back in the day influencing the likes of Marfox and appearing on the 2006 compilation DJ’s Do Guetto (which you can download for free here) He also appeared on the 3rd volume of Warp’s Cargaa series with a dense relentless slab of conflicting percussion on ‘Buzizz,’ yet it’s somewhat of a surprise that now, so far down the track we’re finally seeing his debut solo outing.
Nervoso likes his percussion, and doesn’t need much else, as the six songs here, clocking in at 20 odd minutes in total, are wonky unsettling rhythmic workouts with minimal extraneous ingredients. Occasionally there’s a hilarious repetitive vocal sample saying “Ah Ah,” such as on ‘Ah Ah’, a bit of bass here and a siren there, but in the main, it’s percussion, sampled hand percussion and electronic beats. Most of his sounds feel culled from a techno music sample library, though whilst Nervoso is no doubt tipping his hat to this world, his stuttering beats, odd cadences and peculiar time signatures, alongside colliding, near incongruous rhythmic patterns keep everything joyfully off kilter and uncertain.
The most interesting piece is the final ‘Kuia,’ and it’s also his also his most diverse, and though it barely gets above a canter, the beats evolve, swing, and even the implementation of some strange pitches of sound that are vaguely reminiscent of farmyard animals from kids keyboards still manages to end up with this really seductive stilted groove. Like much of Nervoso’s music it almost feels like a challenge he’s given himself, by beginning with a cold difficult near grooveless snare, then it’s up to him to slowly breathe life into the track. And it’s incredible how Nervoso and many of his compatriots seem to be able to make challenging fascinating and unexpected dance music from the simplest of ingredients.
This is the kind of music that makes you wonder if you’re playing it at the wrong speed, it’s a deconstruction of electronic music, where it has been disassembled and pieced back together a little wrong, leaving the listener feeling more than a little bit, confused, energized and Nervoso.

Cyclic Defrost, November 2016

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