Adelaide MC Koolta was tasked with the gruelling but exciting mission of supporting Deltron 3030.
He did so enthusiastically and passionately; while brimming with positive ideology the young artist would benefit from penning songs about real world events and atrocities, rather than generalised themes. His thoughtful presentation could make a real difference in educating the people once he gains an expansive voice on a larger platform. Though some of his beats are interesting it really is a testament to Adelaide (and by extension) Australian hip hop culture that Koolta’s sound was utterly predictable, in juxtaposition to the avant garde nature of Deltron 3030.
Deltron 3030 as a full band sound amazing. Every element, from the keys and synthesisers sending sporadic sound effects ricocheting through the room to the sound of soft accentuating guitar licks or the relentless and penetrating scratches from Kid Koala. The bass guitar was a lynchpin for the entire band’s sound by adding motion to the slower songs and sheer weight to the heavier songs in the catalogue.
Deltron Zero aka Del The Funky Homosapien is a luminous creative talent. It can be said that the band sounds better live and Del himself sounds better on record. On stage his voice lacked clarity, whether this be due to the sound engineering or something more personal, it paid to be up close to the rapper, as often the live band was louder in volume. In a sonic journey through songs from both records in their catalogue Deltron 3030 closed their set with a brutally satisfying rendition of Gorillaz’ Clint Eastwood. Damn, baby.
