Reissue of Charly Kingson’s hot disco platter, produced by Klaus Weiss in Germany, 1982, and shifting for triple figures on the 2nd hand market...
A-side is the horny Afrobeat funk fuss of ‘Born In Africa’ with its slithering bassline and call ’n response vocals, while B-side is juicy ace named ‘Nimele Bolo’, working a squirmign synth bass with chicken scratch guitar and horns for pure late night heat.
Kompakt’s ‘Total’ series comes of age with an 18th edition featuring 25 vocal-heavy and disco-ready tracks of minimal techno and tech-house from friends and family.
Standout moments come from Tom Demac & Real Lies, with the gentle ecstasy of ‘White Flowers’ sounding like Underworld meets The Streets; a sharp cut electro-house winner from John Tejada in ‘Detector’; the tight electro-trance mission of ‘Crasher’ by Rex The Dog’; the effortless acid techno glyde of ‘Hidden Beauties’ by Anna; some swaggering techno by the Voigt bros; and a squashed acid floater from Ghost Vision, ‘Zulu Passage’.
If Colins Potter and Stetson made music together, it may come out something like Nova Scotian artist Joyfultalk’s 2nd album ‘Plurality Trip’ - a drivingly ecstatic and frayed début of warped kosmische coordinates for Canada’s excellent Constellation.
“From a secluded outpost on Nova Scotia's mystical South Shore, the junked-analogue sounds of JOYFULTALK conjure micro-climate trance music. The brainchild of instrument builder and alchemist Jay Crocker, joined by multi-instrumentalist Shawn Dicey (Ox, Lab Coast), JOYFULTALK offers up instrumental compositions that flow like wordless rivers and glitching fields of electric grass, through a bric-a-brac vocabulary of handmade electronics. Their music channels a sonic regionalism influenced by the craggy treelines and babbling brooks of Lunenburg county, with gnarled jamscapes rendering natural spaces in a hazy parallel universe, navigating the astral plane by way of their rugged Maritime environs.
Following a fabled career as an avant-improv regular and go-to homespun producer in Calgary throughout the early aughts, Crocker relocated to a grandiose, piecemeal residence tucked into the treeline along the Petite River in Crousetown, a blink-and-you-miss-it Nova Scotia hamlet, in 2011. Without a social outlet or music communit,, Crocker began inventing his own musical partners (The Pink Dolphin, The Cheadle): a cast of modded synths and cobbled instruments to salve his isolation and elicit his sense of creative unbalance. The resulting sonic conversations became JOYFULTALK's acclaimed 2015 debut full-length MUUIXX, (released on the essential and adventurous Drip Audio and Backward Music labels) - a record lauded for its unlikely Cluster-meets-RZA grooves.
Following these smatterings of high praise, various Canadian and European live dates alongside such acts as Micachu & The Shapes and Holy Fuck, a couple of home plumbing jobs, some gnarly car repairs, the creation of the Planetary Scoring System (Crocker's own conceptual scoring methodology) and the construction of BIBELOT (a custom-built, gallery-ready set of sixteen ceiling-mounted music boxes), listeners are now graced with Plurality Trip, the second offering from JOYFULTALK.
Plurality Trip is an extension and refinement of the duo's junkshop practices, drawing from contemporary dark trance and techno, while rooted in the outré swamps of krautrock and the refracted webs of noise and dub. Though heavier than its predecessor, the weight is never debilitating - Crocker and Dicey roam the shadows with rugged tones that reveal an expansive core. Pulled into a half-sped ghettotech mirage, woozy on new-age overdose, the listener may be lulled into a key-run reminiscent of Mahmoud Ahmed before eddying into a whirlpool of industrial jank. Heady and skitteringly kinetic, Plurality Trip unfolds like a fever dream shot through with dappled forest light and darkening skies. The result is a superbly idiosyncratic and invigorating take on avant-trance music with few comparisons. Thanks for listening.”