For all its experimental underpinning, MUUIXX strikes an incredible balance between playful textures, backdoor pop sensibilities and serious structural integrity. JOYFULTALK's (Jay Crocker) homebuilt instruments and analogue treatment imbue the nine tracks with a wide range of sensations, recalling a myriad pioneers: the heavy patchwork of Cluster, the micro exoticism of early RZA, even the fraught insistence of Derek Bailey. But reference aside, MUUIXX has a motion all it's own; a peculiar kind of ticking that threads itself along. Diligently scored, performed and recorded by Jay Crocker with a set of fourteen custom built instruments at his home studio in Crousetown, Nova Scotia, MUUIXX functions as a vibrant, oversized diorama of its creator's mind, an evocative scene that could be designed by no other.
JOYFULTALK is the most recent brainchild of Canadian composer Jay Crocker (Ghostkeeper, No More Shapes), JOYFULTALK is a curious dialogue modified to make a little universe of itself; wordless rivers of analogue tongue, glitching fields of electric grass, an orbit of junked vocabulary. Originally based in Calgary, Jay Crocker has spent the better part of his lifetime creating inimitable music with groups such as the jazz-inflected No More Shapes and the Polaris-nominated avant-blues outfit Ghostkeeper. He's also had a substantial career under his own name in a number of incarnations, be it touring a ten-piece neo-classical pop band, or playing a decade's worth of experimental sets as a part of Calgary's noise and improv scene.
JOYFULTALK is Crocker's most singular, inventive and exciting project to date. An opus of sorts, MUUIXX, marks the emergence of a new voice from one of Canada's most fearless and beloved musicians. JOYFULTALK is set for release, on Jesse Zubot’s venerable Vancouver label Drip Audio and for vinyl pressing on Halifax’s Backward Music imprint, in June 2015.
"Basically if you want to get your mind fucking blown, you should probably check out JOYFULTALK." - Noisey (Music By Vice)
"Bubbling, decalescent layers of sound reduce into an intense, intense agrodolce of dreamy hypnotic psych-folk raga patterns, throbbing, 8-bit desert kraut rhythms, and grainy, sinister instrumental hip-hop pulsations."
- The Scope at Ryerson
"...fans of early German electronic and contemporary experimental music should find much to appreciate throughout this record."
- Tiny Mix Tapes
"The album’s munged digital samples, strands of difficult-to-identify acoustic instruments, and sticky gobs of synth treacle amble and ooze through malleable rhythmic grids."
"This record will likely be labelled as electronic music, but unlike much of the music in that genre, it does not come across as shiny or impenetrable."
"...one of the least predictable albums to have crossed this desk in many a moon."
"It's a harrowing head-nodder that sparks the ear with grinning textures atop slabs of gilded waste."
- Forest Gospel
"Think of childhood memories of a Fisher Price toy keyboard with low batteries supplanted by the Vanilla Dome cave drums underneath excerpts of the soundtrack to Akira."
- !Earshot Online
"This is fantastic sci-fi soundtrack music from a man who fled Canada's economic engine and its most sprawling city to pursue a more meditative existence in the middle of nowhere, released on a record label run by the violinist in Tanya Tagaq's band."
- The Record
"This is a more than excellent work, combining a wide variety of interests and musical influences into quite an original work."
- Vital Weekly
"What impresses beyond the alien sounds and unlikely pairings on MUUIXX is its unwavering hold on the listener."
- BeatRoute Magazine