It is possible that this is the first time you have heard a different electronic meringue rhythm known as Merengue techno or Bumper. If for some reason as an artist, singer, songwriter, promoter, music producer, making beats, or simply a fan of any style of music, no one doubts that listening to a new style of music, a type of rhythm that sounds different, a rhythm that has heard your neck is something that catches your attention.
This new style of music which uses the rhythmic base of the traditional Dominican merengue, as a way to make a difference, many people identify as merengue techno or merengue Bumper. In short, the rhythm of Bumper would become a subgenre of the traditional Dominican merengue made electronically.
In merengue techno, Bumper replaces the essence of the original traditional merengue instruments such as (accordion, saxophone, tambora, güira, bass, congas, timpani and marimba) with electronic sound that copies these sounds digitally, but preserving the rhythmic base of traditional merengue. that is heard at the moment in the Dominican Republic. That is why, from my point of view, the Bumper meringue can be considered a subgenre of the Dominican meringue that we all know. Bumper is a new rhythm which sounds similar to the meringue rhythm, but it is not meringue.
Here we are offering a new style of electro rhythms using Afro drums that from my point of view will revolutionize the world of music, especially Latin music by fusing digital electronic music with different genres of music influenced by African Caribbean drums, especially when we speak of Cuban, Jamaican, Dominican and Puerto Rican rhythms ..
Maybe that’s why you should pay attention to the new style of electro rhythms and Afro-Caribbean sound that we are producing for music fans who are tired of always hearing the same thing. Because one of the characteristics of all Caribbean rhythms is their ability to provoke emotions, tell stories, where dancing, enjoying, singing and sharing is part of their essence.
As a beat maker in the digital world, using the most popular music creation software is the norm, but in some cases it stops the creativity of new music producers playing it safe.
In short, the musical creativity in the new producers of tropical music is being lost and this musical creativity is being used in foreign Americanized rhythms (Hip hip, Rap, Trap, Pop, Drill) pulling to one side the traditional Latin music (Rumba, Salsa, Merengue, Bachata, Plena, Cumbia) from many nations in Latin America and the Caribbean.
Digitally created beat has its limitations when beat makers lose or don’t have the ability to create something different. Perhaps that is why in recent decades there has been a growth in the number of productions, while at the same time decreasing the quality of the musical product offered to the public, but also the diversity in terms of style, sound, melody and production levels.
Many critics of the music world consider new musical productions, especially when we talk about Puerto Rican Reggaetón, Dominican Dembow, Latin pop music and hip hop / rap and let’s not talk about trap.
The producers lack initiative in the creation of new melodies in their musical compositions or music tracks, and let’s not talk about the poverty of the lyrics and little musical quality when talking about the vocalization of many urban exponents.