|3||Be Quicka Or Be Dread||6:11|
Diogo (Guimarães, 1988) started DJing in 2011 but the number of gigs seriously multiplies only after his move to Lisbon in 2016. Here he becomes part of the Extended label's core, creates and directs the PISTA! magazine and begins producing music. In 2017 he promotes with Mário (Lisbon, 1982) the Aurora series of parties at EKA, where they also play together and become aware of the roots of their future production. Mário has been making music since the late 90s, he's a DJ since 2007, Moreno Ácido since 2016, the year that appears to contain all the seeds for the present EP.
At Mário's place (General Roçadas avenue in Lisbon) they test beats, samples, ideas. "We got along well and decided to try producing an EP". Title track "Roçadas" comes out fully formed in just one day from an acid line and Brazilian funk samples they stumbled upon in Mário's computer, but a digidub vibe is really what gets the flow going. At the peak, a sort of utopia designed from some kind of Rave essence, identified via the string ambience which shoots emotion into the future.
"On the same day we lay the foundations for Be Quicka Or Be Dread": bassline, cuíca and whistle appeared so spontaneous that this track was immediately taken for granted and was the last one to be finished. Tight mechanical march most of the time, layers of percussion, assertive bass in a track of its own, allowing the several blocks of groove to roll freely. Towards the end, gradual untangling of the structure.
"Verde Grama" was initially intended as a version of the K&T Mix of ”This is Acid (A New Dance Craze)" (Maurice), but the tone and cuts in the main horn stabs tell a different story, still inspired by the original material, sure, successful in capturing its spirit, but clearly operating from a new generation of components and their respective contemporary interpretation. 2019, people.
Korg's Minilogue was used to lay out most of "Coisa Leve", balanced between the dreamy, trance-y initial crescendo and the broken beat that easily takes this into robotic territory. A splash of "E2-E4" (Manuel Göttsching) comes and goes, leaving a light trace of 1989 Italian House and a gradual exit which itself indicates the exit of the club.