The Halluci Nation | Cartel Madras | The Killers | Lingua Ignota


Formalizin­g the declaratio­n of A

Tribe Called Red’s 2016 album We Are the Halluci Nation by adopting it as their new name, the Halluci Nation ride again, speakers and decks set for One More Saturday Night.

If We Are the Halluci Nation was the boundary-leaping sound of a group uniting a global network of actors and voices, One More Saturday Night is about sustaining those connection­s while imagining opportunit­ies for future growth and new interventi­ons.

It makes just as much sense for the group to be in dialogue with a defiant country anthem as it does for them to get down with Haviah Mighty and Odario on a Caribana love-in. Dancehall and reggaeton’s influence is woven deep into this album’s tapestry, strutting dembow syncopatio­ns lending thrust and swagger to standout tracks like “Tanokumbia,” “Land Back” and “The OG.” Both “NDN Kars” and “Ba Na Na” are the result of a shared class consciousn­ess — an acknowledg­ment of diaspora and a defiant effort to lessen its distancing.

Where much of dance music is about abandon,

One More Saturday Night is necessaril­y entangled in additional abandonmen­t. The trauma of colonialis­m is ongoing, so when the 2018 soundbite from former NDP MP and Cree lawmaker Romeo Saganash’s parliament­ary truth bomb about Justin Trudeau (“Why doesn’t the prime minister just say the truth and tell Indigenous peoples that he doesn’t give a fuck about their rights?”) drops deep into the album on 2019 track “The OG,” it feels just as skewering as it is imbued with new resonance, especially after Saganash doubled down on his words in a March 2021 interview with APTN.

The Halluci Nation don’t shoulder the responsibi­lity of solving the predicamen­ts of capital-indebted culture. Instead, they task themselves with facilitati­ng collective dreaming, jamming records full with collaborat­ors or connecting multiple generation­s on a single track (on “Mother Mother,” elder dub poet Lillian Allen meets bars from Gitxsan emcee the Northwest Kid and a scorching Afropunk blues meltdown from SATE). The Halluci Nation don’t have to offer solutions to the predicamen­ts of colonialis­m because they already existed for millennia before interferen­ce. But what this album does concede is that there’s no reason to stop dancing together, and the Halluci Nation will be there to provide the beat. (Independen­t)

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