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TAL NATIONAL | WET TUNA (Matt Valentine & PG Six)
A joyful barrage of traditional Hausa and Zarma vocals, soukous guitars, reggae synths, and percussion, all rolled up into a decidedly rock aesthetic.
Some of what was said about Zoy Zoy:
The music is colorful and bright and dizzying. It recalls the energy and wall-of-sound quality of Konono No 1, except more frenzied and texturally varied Tal Nationals ability to weave together all these thematic and musical elements with unflagging speed and energy is breathtaking. Pitchfork
the band combines rapid-fire guitars and hypnotic percussion over rolling 12/8 rhythms The tracks might be faster and lighter in texture than desert blues, but they are no less intense. Rhythms
They are the living embodiment of dizzying swing, masters of tempo control, with a combustible energy that must be electrifying live. Irrepressible in the face of Islamist denouncements of secular music, Tal National place Niger firmly on the international musical map They have worked themselves into a finely-tuned machine of skill, energy and real intensity fRoots
a band from the deserts of Niger that manages to come up with a refreshingly different sound A clattering, urgent melting pot of considerable rhythmic complexity raw and original. Songlines
The music turns in wild and unexpected directions as psychedelic hues emerge and patterns form that may not have previously seemed possible Despite the chaos of the incredible arrangements the groups discipline never shows signs of losing focus Tal Nationals lineup may feature a traditional rock set up of guitar, bass and drums, but their intensity while keeping a relatively clean sound is quite unlike anything else. Distilling many popular African music styles, while never replicating any it sounds purely like Tal National, and throughout Zoy Zoy their sound leaves no room to contemplate anything else once it sucks you in Zoy Zoy really is top. The Quietus
its downright miraculous how the songs mesh: guitar licks, hopscotching bass lines, cymbal offbeats and talking drums all land with microscopic precision and can reconfigure in an instant The New York Times
an astonishing fusion of fresh ideas Clash
delirious afro guitar works fans of Tinariwen will find plenty to love Uncut
Its the sound of a group without obvious peer one has to look back at the golden age of the west African guitar bands to find this level of complexity executed with such brazen confidence and ability Wire
Tal National continue to widen their global appeal with their blistering new albumbuilt on a combination of relentless, loud guitars and stunning rhythmical complexity an album rich in personality and sparkling colour Future Music
This is pretty damn special. Brimming with rawness, energy and pure musicianship, its well worth seeking out. DJ
theres no way you wont dance to this one NPR
WET TUNA (Matt Valentine & PG Six)
https://wettuna.bandcamp.com
Matt Valentine, the "MV" in cult-favorite Vermont psych duo MV & EE on Woodsist Records/Three Lobed & Ecstatic Peace!/etc...and P.G. Six on Amish & Drag City Records/etc..., who played together in the TOWER RECORDINGS. Separately, they do MV & EE, METAL MOUNTAINS, PIGEONS BAND & beyond -> here & now they COMbine for maximum potency orbiting vintage & future wave.
"Utterly boo-licious debut slab by this new duo, made up of Matt 'MV' Valentine and Pat 'P.G. Six' Gubler, who have been in cahoots since the near-forgotten days of Memphis Luxure. The pair (mostly known for guitar-aktion) create a full band's worth of jams using percussion and keys and all-else. The results make for one of the more mind-melting platters to've hit the Valley in a good while. Like many of the best sides this pair has been associated with, the music on Livin' The Dieis an elegant balance of ramble and spear. The songs' formats are as loose as Earl Butz's shoes but each of them is lanced with guitar sounds as tight as his legendary fist. Around these spumes of electric menace you'll find rings of crazy space burble, vocals so deeply layered they sound like something happening in the back of Daevid Allen's brain. But large swathes of the album are rurally expansive, as befits the mountainside on which it was recorded. Pods of guitar-pedal-whomp slowly surface in the middle of whirling sea of harmonica slurps, juice harp bwongs and vocals as dreamy as they are lost. Roll a bone or be one. The choice, as always, is yours." --Byron Coley, 2018
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