Diskjokke (aka Joachim Dyrdahl) is together with friends Prins Thomas, Todd Terje and Lindstrøm all part of Oslo’s pulsating disco scene. He’s a classically trained violinist and classical music has always been an important part of his life. Joachim studied mathematics for eight years, and holds a master degree. The new record, whose title translates to “a happy time,” symbols an important turning point in his life: becoming a father and deciding to do music full time, while setting aside his career in mathematics. His first break came with tracks released on Prins Thomas’s Full Pupp label, and he’s now a much sought-after remixer. Diskjokke release his albums on Norway’s Smalltown Supersound, and his second album En Fin Tid is a trippy journey of instrumental euro prog disco, italo, kraut, eccentric Arthur Russell and breezy Brian Eno sprinkled with acid house. Even though he share influences with his Oslo crew, Joachim’s approach is less dance floor oriented, with a purer approach to the 70s and 80s. It all sounds very retro futuristic.

Opening track “Reset and Begin” is a slow atmospheric burner with a tropical vibe and a soft bass, and at times sounding like a balearic Dire straits. The title track follows with a transcendental kraut melody, Moroder synths and bongas, which merge with “Big Flash”; an aggressive hypnotic jam that puts you the middle of a vintage rave party. Lead single “1987″ is the highlight of the album. With glimmering synths and cowbells it sounds like a hidden classic, a 77s disco stomper somehow dubbed for a 87s thriller movie. “Bastard Alliance” follows; a beautiful steady beat with a wall of synths, and several shifts in mood. “The Bund” is a slow and sticky track, with an organic and tribal groove. Album closer “Nattestid” shows Joachim’s talent as a composer. It’s a ten minute long thriller of an autobahn composition, well suited for a David Lynch movie.

En Fin Tid consists of 8 tracks, and only one of them shorter than 6 minutes. All The tracks have a buildup; going through shifts in setting and tempo, before fading out or merging with the next one, and it requires a few listenings to keep yourself from asking him to get to the point. And like the rest of his famous Oslo friends, he makes you take the humor in his songs seriously. The only thing I have a problem with is too much use of acid synths; they seems to sneak into beautiful little moments where they don’t belong.

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