The spice trade is making a comeback. Chemists are the new explorers. Before anybone knows it, pristine frontiers of both incense and gastronomical garnishment will have been uncovered; and presumably great humans will be there to thank.
In the days before the marijuana locomotive gained steam - with everyone aboard making swift haste out of Penn Station - the going was rough. Job applicants, parolees, and athletes without prop genitals were alike. The lot was limited to a binary set of options. To toke, or not to toke; this was the question. What was a pothead to do? Suddenly, an innovation hit the vice market.
Without any warning warning third stream, blue and rhapsodic, appeared. K2 would not be relegated only to the arena of towering land masses. Synthetic weed (or spice) was not meant for human consumption It naturally became widely available. Curious party were now free to wander. Friendly neighborhood headshops made bussing. Knock-off bud, in all its unnecessary glory, got its fifteen minutes of cannabis fame.
Until the government got a whiff of the new odor...
Despite the moniker, Dj K30 (pronounced kah-tɹeen-tah) is far from the spice trade revival. The Firma do Txiga beat-maker is not an imitation. K30 (also stylized K3O) also takes typical rhythms and turns them into electronic beats. What this Joe far from average does, though, is lean away from dancefloor. Instead, K30 forms these tracks with a subterranean groove; deep and dense and begging for repeated spins. But no matter how eccentric his songs are, K3O's songs always have a deep sense of how to "batir"
So after a three-week hiatus from these pages, the author believes it to be as good a time as any to catch up with on DJ-K3O no Tchiga...or Dj K3O JOE do FAC...or whatever his proper name may be.
Released two weeks ago, the following track is untitled. A dupla with Black 'n' Power beats producer Dj Aléé, the song's nature is not obvious. Prefaced with a tag that reads "#newstyle," though, expectations roam freely. The designation, in spite of this, proves wildly accurate. Formed around a two-bar synth, the introduction comes to includes foreshadowing (as well as the most half half-hearted "porra" in history). k-30 taking the first turn in the song structured in a "versus," style. A bouncing synth marks the melody; accompanying a soft rhythm and frolocking bass. Aléé's presence appears after the interlude. The beat completely changes and the song takes on a bare kuduro appearance. A promising proposal, albeit in blaze of bizarre glory
K3O returns two days later. Touting a track that is all his own - and obnoxiously not available to be embedded - "Vida dura é assim" would sound much more at home in Cold War Cologne or present-day London than Lisbon. The two-minute track eviscerates classification. The beat bares semblance to kuduro. Between the intro and the head, two synths are heard one harmonic and one melodic/percussive. As with the previous number, one synth bounces The other synth goes through pitch changes. Of greater interest, however, is the rhythm that appears to be missing a beat. But with greater space comes greater responsibility and K30 makes due. Once the track is established, a syncopated three-beat bell appears. As the song becomes more atmospheric, the rhythm changes. The beat takes on a third mutation. Digital snares appear during the song's latter half, when an organs usurps the mood. A truly very, very good song (linked here once again); so formidable, in fact, that it nearly begs a comparison to the excellent MaboOku track "Bruxo"
Over the weekend appears "Parte Original do TchiGa." Coming off the taste provided by a brevemente the day before, the song returns the Dj to a dancefloor. A relatively straightforward and quick batuco, though, "Parte Original do TchiGa" is far less busy that the preceding number. Primarily a percussion track, K3O relies heavily on his rhythmic elements. The main change between the two looping section is the bass. Varying from a 4/4 afro-house kick to the a more frequent variant, the song leaves listeners waiting for more. Transitional effects, however, stand to be mentioned. Quaint overall, a good song that would work well in a mix.
- John Noggle
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