Matias Aguayo, our favorite Chilean-born/European-based artist outside of Alexis Sanchez, returns from years of hibernation with the rousing “El Rudo del House.” It’s a welcome return to form for Aguayo and his Comemé label, which hasn’t had a massive run since Rebolledo's outstanding debut LP back in 2011. "El Rudo del House” is a frenetic and loose number that isn’t too far removed from The Visitor, Aguayo’s underrated 2013 album. However, the lack of vocals indicates that Aguayo is moving away from the pop songwriting of his last two LPs. Whatever happens, this latest single is proof that Aguayo still knows how to turn up a dance floor. That’s why he’s the label boss…
Super Vato, Rebolledo Cómeme, México Rating: 89 by Andrew Casillas
Somewhere out there is a room that’s darker than anything in Entertainment 720’s color palette, where aged whiskey and justifiably-priced champagne flow like lava. Where lights exist for the sole purpose of looking cool. A place where shiny shirts are banned in favor of comfortable, tucked-in button downs, and where nothing matters except how deliberately outmoded your hairstyle is. This is the coolest room in the world. And, right now, Super Vato is spinning on the P.A. in an endless loop.
The debut full-length from Xalapa, Mexico’s own Mauricio Rebolledo is a confident, irreverent, and fundamentally funky slice of new world techno. While other producers are equating “progression” with “throwing extra shit on top of my old shit,” Rebolledo, a former industrial designer, is finding reasons to fit disco, funk, synth-wave, rock and roll, and street festival cacophony into the same space. Rebolledo’s approach sacrifices the “globalism via multiplicity” that his mentor, Matías Aguayo, rode to success with 2009’s Ay Ay Ay, instead going for a thematic, more emotive approach. Think more “epic film score” than “battle of the bands.”
Not that Super Vato (which is, quite honestly, the most bad ass album title of the year) isn’t assertive. The album seemingly begins while it's already in progress with the woozy and buoyant “Canivalen.” Amidst its fat percussion, minimal keyboard notes, and boogie sound effects, the track doesn’t seem to go further than having Rebolledo coo about “Antonio’s dance party.” But as the track plays out over the course of five minutes, the beat builds and builds, the pitch of the bass and additional FX gliding in and out of consciousness until there’s no recourse but death. And it ends. So goes Super Vato at its best, where a seemingly endless sound gradually changes until its organic flip into mayhem and raw energy. Hear “Steady Gear Rod Maschine” transition from ice cold synth muzak to high tempo dance floor banger to a syncopated, almost-militant denouement in under six minutes and how “La Pena” blends horror film suspense with hypnotic proto-reggaetón, seemingly under cover of night. “Super Vatos” lifts the organ from Phantom of the Opera with disco beats. The reason? Because Rebolledo fucking can.
If there’s a flaw to Super Vato, it’s the lack of a breakout or out-of-this-world track. Nothing on the level of “A Paw in My Face” or “Love Cry” or “Hyph Mngo” or other recent tracks to escape the beatz ghetto. The closest that Super Vato gets to an ace go-to track is “Corvette Ninja,” which is indeed a highlight amongst highlights. But its “Miami Vice Theme-but-with-balls!” motif isn’t going to set the world on fire. Regardless, the only argument against this record is “why isn’t it more awesome?” Whether you’ve heard enough techno to get excited about Superpitcher cameos or how this stacks up with the Sepulcure LP, or just want something that sounds good out of your car stereo, there’s certainly nothing on the techno scene quite as funky or cool as Super Vato. And there’s very little out there that’s as good. In any genre.
With his terrific second album under the Helado Negro stage name, 2011 is sure to be a fabulous year for Roberto Carlos Lange’s alluring electro-folk project. Included in our latest compilation, Nuevo Ideal, “Regresa” is the first single extracted from the Brooklyn-based artist's adventurous new record, Canta Lechuza (Asthmatic Kitty). Directed by Chicago’s fine photographer Gus Gavino, the video for the song presents a sober white scenario where a pair of youngsters, represented by the figures of dissected foxes with petrified stares, struggle under a common situation of distressing distance; a turmoil that is expressed through a bear and its open jaws. “Regresa acá mi mujer/Ya no puedo más,” Lange croons, while the elegant male protagonist uses his dancing skills and physical expression to seduce his lady, who prefers to evade him by putting a paper napkin on her face. We eventually see the girl having flashbacks of the couple’s happy times in bed, her daily work routine, and also a trippy sequence of hypothetical death with rising souls worthy of an Animal Collective/Panda Bear video.
As any long-time Club Fonograma reader has figured out by now, one of the quickest ways into our heart is by throwing in some disco strings into any given song (and if you’re in need of more proof, I would recommend going back through our Top Songs of 2010 playlist). So imagine the happy surprise of hearing some disco string action kicking off the debut album from Latin American techno’s latest wunderkind, Ernesto Ferrerya. This Argentina-born DJ cut his chops by working virtually every major scarcely-lit club in Mexico, before drawing greater attention, and a record deal, thriving in Montreal’s ultra-competitive electronic scene. And indeed, El Paraíso de las Tortugas filters the wide range of electronic sounds across the American continent: Cuban rhythms, French Canadien rave signifiers, Mexican proto-ruidoson, Detroit house; all coming together in a wonderful set of upbeat minimal techno.
If album opener, “Mil Y Una Noches” (aka the one with the disco strings), lets a little sun into the typically dusk world of minimal, follower "Los Domingos Vuelo A Casa" throws some sand and aged rum into the mix. It’s a pungent one-two punch, and shows the array of sounds that Ferrerya is keen to experiment with. There are noticeable other peaks throughout the album, from the frothy “Lost,” with its liquid bass line, skittery percussion, and rave aesthetic, to the delectable “Letting Go” (which is pretty much what María y Joséwould sound like if Antonio Jimenez ever had a budget). It’s also satisfying to report that Ferrerya saves the greatest fireworks for the final track, “El Comienzo De Todo Los Demas,” a disco burner stacked with overwhelming synths and lightly-frosted drumming which could have only been made by someone who’s absorbed as much latitude as he has.
Granted, there are still some slip-ups, a few tracks eventually dissolve into “Techno 201” bits of pointless monotony, but on the whole there’s much to admire and take in. If this debut album is any indication, Ferrerya’s career is definitely something to keep an eye on. Hey, as long as he keeps those disco strings coming, we’ll definitely be listening.
Historial de Caídas, El Sueño de la Casa Propia Pueblo Nuevo, Chile Rating: 83 by Andrew Casillas
There’s nothing really original about Historial de Caidas. Actually, now that I think about it, there’s nothing really original about El Sueño de la Casa Propia, either. I mean, glitchy, sample-fueled electronica has been making its way around clubs for the past 20-25 years or so. Much of this kind of stuff could rightfully be accused of being easy, lazy, boring, or confused (I’m looking at you, Greg Gillis). However, there are certainly exceptions that float up from time-to-time: You've Come A Long Way, Baby , Since I Left You, and Thunder, Lightning, Strike are perhaps the quickest that come to mind—and for good reason. Each of those records is a complex, dedicated, and gutsy album, yet also built-up a sincere and engaging narrative that kept their unapologetic thievery (in the legal sense) from seeming wrong and empty.
Historial de Caídas doesn’t quite reach the heights of those mentioned above, but it certainly makes a valiant and satisfactory effort. Jose Manuel Cerda Castro, the man behind the El Sueño de la Casa Propia, seems to have a decent understanding of pre-digital electronic music. His sample manipulation is rudimentary, but not elementary; almost like early-90’s IDM. When the record starts to perk up the glitches and pops, Castro doesn’t override or counteract his beat, he makes sure it stays central to the auxiliary sounds. Let’s use the most-notorious track on the album, the (obviously) Michael Jackson-sampling “A la Velocidad del Amor,” as an example: about halfway through, the MJ “whoo”’s and looped guitar picking eventually clash into each other in a frantic, almost exaggerated fashion. With a lesser mixer, these pieces would come off as bold as a 30 Rock smash cut, which works completely fine in a top-quality American sitcom, but not with this sort of music. But Castro gives the entire track an atmosphere where the transitions and manipulations become natural and logical—an impressive trick, indeed.
From this point on, it’d be futile and a bit time-wasting to single out any other highlights, which, in a way, also highlights how solid this record really is. So what I’m going to do is just encourage you to listen to this, however you’d like. If you’re a record-hoarder, you’ll definitely have a great time playing “spot the sample” (psst, the most interesting is the Bowie one, the best utilized is the Flaming Lips mouth-beat); if you’re a fan of this sort of sampledelica, you’ll find this to be the giddiest record that the Go! Team ever made (and without the shitty mixing!); if you like pop music that makes you dance, well, you’ll certainly dance.
And honestly, that’s the true appeal here. This is a record that’s deep, complicated, and full of warmth and optimism. But it also sounds like a banger playing on your speakers. Something for your head and your tippy toes.It’s an almost-great record in a genre that rarely makes almost-great records. And if you hear this and disagree, well then you’ll always have your Girl Talk and the Big Bang Theory. The rest of us will be here nodding and watching Community.
Río Arriba, Chancha Vía Circuito ZZK Records, Argentina Rating: 73 by Andrew Casillas
Pedro Canale and his Chancha Vía Circuito project is the latest ZZK outpost dedicated to exporting cumbia digital outside of its South American domain. On his full-length LP, the wonderfully titled Río Arriba, Canale continues to propel ZZK’s mission statement of hazy, indigenous-aping/sampling shuffle step, while also expanding the boundaries of the genre outside of the brash-beats of Toy Selectah and King Coya.
Indeed, Río Arriba likely has more in common with indie records like Espíritu Invisible than any of its parent label’s excellent compilations. The dance beats moves at a hiker’s pace; the rubato steeped in a steady groove. Under lesser artists, the pacing would be at a risk of inducing boredom, but Canale still fits his share of grooves in throughout. And the album’s opening trio is indeed some damn fine production work (particular praise going to the remix of “Pintar el Sol,” one of the more beautiful tracks the Club Fonograma world will produce this year). However, after that it becomes more hit-or-miss. Not a perfect record for sure, but something definitely worth the time for those who’ve already come under the spell of cumbia digital.
Subiza, Delorean True Panther, Spain Rating: 80 by Andrew Casillas
First things first: What do we make of Delorean? Are they the sunnier form of the “chillwave/glo-fi/tapecore” movement? Are they basically a Scandinavian blisscore techno act in Xavi kits? Are they really just a rock band with house accents? In reality, they’re obviously a mix of all three propositions. They share the same passion for effects processing and shoegaze affinity as your Washed Outs and Neon Indians, the same sunny exterior and dreamlike harmonies of the Tough Alliance and Air France (who is perhaps their easiest single comparison), and it certainly wouldn’t be a stretch to accuse these guys of owning a Booka Shade 12” or two. What sets this up-and-coming Spanish band apart is how they choose to blend all of these elements together: as equals, something that’s readily noticeable upon first listen to Subiza.
Take the opener, “Stay Close,” for example. Lyrically, this is a song about long-distance romance transitioning into melancholy, but musically (and thematically), the vocals, samples, and effects are weaved to the point where the melody becomes no more prevalent than any other instrument, as if you were listening in to someone’s fantasy. The beat thumps, but doesn’t rock the house, and the whole thing threatens to burst into a million colors all over your ceiling. It’s a bit frantic actually, which seems to distinguish it from chillwave tropes, but not so much that you would be a fool to want to play this on a sunny, cloudless day. It’s also the best song on the album.
This is followed by “Real Love,” which retains a bit of the programming virtuosity of the above-mentioned Tough Alliance, but with a light shoegaze haze. Indeed, there’s a quiet bit about halfway through the track, where the soundscapes slowly descend into a blur before the keyboard effects erupt all over again. Aside from sounding really, really cool, it shows a density and cohesiveness that shows the band’s growth from Ayrton Senna.
From this point, the album gets less poppy, but no less interesting. “Endless Sun” showcases the band’s 90’s house influences, and the Burial-like “vocals” on “Grow” provide a neat contrast with the track’s overall sunny exterior. The 1-2 punch of “Simple Graces” and “Infinite Deserts” may be the album’s high point. Changing the tone of the album, these cuts are less focused on the beach, and more towards reality. Indeed, the Avey Tare-ness of the vocals make “Simple Graces” sparkle; everything about the song sounds like a diversion, right down to the drumbeat at the very end. “Infinite Desert” begins with the seemingly innocuous chant of “Would you like to start a riot?” before exploding into slices of color—the fact that Delorean does this so easily is what stands out most.
This isn’t exactly a perfect album: there are moments when the lyrics are trying to sound poignant, but end up falling flat; not all of the “hooks” are strong, etc. Some may also say that this suffers from not having a song as immediate or memorable as “Seasun,” one that just begs placement on your end of year singles ballot, but this plays much better as an album as their previous EP would have led someone to anticipate. Delorean also does a find job refining and showcasing their strengths: their harmonies, sense of musical knowledge, and dynamism. 2010 is already shaping up to be a remarkable year for electronic music, and while Subiza may not really be in the running for “techno album of the year,” it’s still pretty damn good.
It’s been a while (years, I think) since “Drop Your Panties” by Picnic Kibun got into my iPod, so I’m surprised to learn that the Chilean act is releasing it as the first single of their new album titled Fiebre Tragada. Somehow, it feels like an entirely new song thanks to its amazing new video, which of course reminds us of NSM PSM’s “Clap Your Brains Off” and some other very colorful, stop-motion videos. It’s like a box full of colors and rewrites the track into a party-starter and not the graphically explicit idea I had on my mind (perv). But they do venerate a cloth like nobody else out there.
TRAVELLING PARTNERS, DJ RAFF Mutante Records, Chile
Check this out, Travelling Partners EP is an amazing set from DJ Raff, a Chilean virtuoso who released his EP through Extravaganza! last October, 2 months too old to get into my top lists for this year, but if I had heard it on time this would’ve easily slipped somewhere among my favorite 40 records from last year. Expect some singles from this to place high during upcoming lists, particularly “I need a beat” featuring Maca Melendez which has been playing on my iPod a bit too much perhaps, wonderful track. I don’t think I’ve liked an urban-r&b track as much since Lil’ Rob’s fantastically catchy “Summer Nights.” DJ Raff takes a voyage as his start point and inspiration, recording these tracks in diverse conditions, magnetizing the vibes and warmth of the cities where these songs were recorded.
QUINTANA ROO, RH+ Nacional Records, Chile ***1/2 Rating: 74 By Carlos Reyes
Nacional unveils their latest inductee to their amazing catalog, RH+ formerly known as Rock Hudson in their native Chile bring their first internationalized production Quintana Roo, a pop-structured but pos-rock edgy revelation. It has been called sensuous and dreamy; I find it exotic and at times even animalistic, which is one of the most arousing faces synth-pop could manage to have. Quintana Roo is asymmetric, not a bad thing if handled right, one side portrays a very European influenced environment of soft electrics, while the other is heavier on drums and therefore more solid. Both personalities seem to search for an instant of dominance over the other, the lack of cohesive attachment lead to an overall mesmerizing duel. The opener “What About” is a stunner; it only took a couple of keys to grab me, builds up its way to tell its love story, grasps through aquatic waves and it resolves itself in lyrics and musical accompaniment. “Perry Frankie Miller Gajardo” is a cosmic ride, a very appropriate and not-at-all safe first single. Having two vocalists encloses the interesting duel, the female vs. male musical conversation is actually peaceful, but carry the proposal to a clever state of mind where reconciliation is found through instrumental songs with some tremendous samplings. The heart of the album is “El Elela” which kicks off with a fearful intro, moves on to steady celebration and a character named Fernando Fernandez tries to introduce Disney’s Dalmatian story. Intermediate tracks like “Curb” and “Robin Is The Last Cowboy” are standouts, and make it easier to answer the question. So, which side is better? Of course, it’s an objective question, but I must go with the well defined edgier personality because it breaks through the smoky electronic pop with much glamour.
Our first feature of February belongs to a pair of freaks doing their thing with much passion. Everyone is talking about 2009 becoming a key year in the expected switch that will reaffirm Cumbia as the ultimate iconic sound of Latin America. If that’s true, reggaeton will be in big trouble, and now Argentina’s wild Frikstailers are serving as mediators among these two sounds + electronic. Before downloading this track I suggest you take a chance to hear their “Kalise” remix for El Guincho’s upcoming set, it’s wicked and even though it’s in my hands I can’t share it yet. Revolt Into Style released a 4-tracks EP in the UK last month, so far everyone is impressed. This specific first single “Baile Frik” is not a pure cumbia, or a cumbia at all, but that’s part of process. We’re unsure if they’ll be featured in the appearance of Zizek at this year’s Coachella, but we’re wishful.
Club Fonograma Features: FRIKSTAILERS. Track: "Baile Frik" Album: Baile Frik EP Label: Revolt Into Style Country: Argentina >>>MP3 MySpace
From New York to the world, we are extremely happy to feature Zona Seis, which is quickly becoming one of our favorite urban acts out there. Electrifying hip hop with some great beats, they could be jumping into an easy route commercializing their music, but their electronic swag is taking them to remote musical areas that are rare to find among Latino urban acts. Not only do they set apart from the generic movement of bilingual radio, but these guys sound like a hybrid of old-school American rap and the European dancehall markets. This is bilingual and demanding urban music with lasers. Can they get any cooler? Yeah, they got an awesome blog that I will probably start utilizing as reference. You can currently download their mixtape Electronic Swag for free here (via Zshare). We are featuring the energetic and incredibly catchy “Cybertron”, it features Slay Back and was produced by England’ Elektronik.
Club Fonograma Features: ZONA SEIS. Track: "Cybertron" feat. Slay Back ; produced by Elektronik Album: Electronic Swag Label: Essounds ET Country: USA >>>MP3 MySpace
1981, CARRIE Static Discos, México ****1/2 Rating: 91 By Carlos Reyes
Carrie is a young revelation from Guadalajara Mexico, her sophomore album 1981 was released early this year, an exciting record that although signs the extension of a splendid singer-songwriter, was the year’s overlooked jewel. My first encounter with her music was early this year with the release of The City EP (Poni Republic) in which she shared credits with The Oslo Deadtrash Project, and later on the year’s best compilation Pero ese olor en el cuarto del piano fue el primer perfume que necesito en su vida. Her music builds on melodic keys, jumps through electronic groundings and yet has the virtue of being charmingly naif. Although very alternative, the motif she embodies feels like that of a pop classicist, while her strikingly shy voice never ceases to disclosure moments of unexpected magic. First, allow me to highlight the beauty of “Japanese Coffee” as it is the album’s centerpiece, not even the finest track but four minutes that showcase what she’s got to offer. A song about ritual, about the ordinary and how it becomes a self-destructive form of living, finding the inspiration to break the mold is up to oneself. She could become a frustrating experience for those expecting splashes of sound at some point, the fact is, not all music needs a rising plot of action or a climax. Carrie offers intimate cohesiveness and if the listener neglects her delicacy, well, it’s not her fault. “Feeding Little Dogs” is the catchiest track here; it was released last year as a digital release EP which included four remixes of the song. "Stumble", the album's best piece, is uncontaminated by any sort of lousiness, it lists the characters necessary to conform to a relationship and suggests that chance is a valid requirement to fall in love. I can actually see myself dancing to the playful strings and back and forth response in “Road Season” and perhaps drink to the album’s instrumental pieces: “Take One” and “Instrumental.” 1981 was my runner up for the year’s top 10 albums; it’s beautiful and audacious, which should be enough recommendation from my part.
HOMELESS HERO EP, BUFI The Poni Republic, Mexico **** Rating: 83 By Carlos Reyes
And yet another fantastic EP from the net label Poni Republic, Mexico’s Bufi is Mateo Gonzalez, a cybernetic guru releasing a mesmerizingly confident debut production. He is really one of the first progressive electronic acts to emerge from Mexico’s hipster social life and the head of Le Touch, a fantastic collective blog of audiovisual artists. An electropop album influenced by the European market, clear waves of Daft Punk and their synthetic vision of how to walk on pixies. He is a top DJ for Mexico City’s coolest parties and begins to show signs for international success. Homeless Hero is an auspicious 4-track EP that serves as a great introduction of an already announced full album in the works. It is hard to recognize official singles on any net labels, but I’m guessing “We Begin” is the highlight track here as it is the only one fully vocalized. The other three tracks have minimal vocal courtesy, as they should be; there is perfect mediation in a frenzy record that belongs to French radio. Also very popular among my friends is “Like a Child” (included on La Rocola #6), that song really brings me back joyful memories and a handful of chuckles. Homeless Hero is chromatic, pastel, and contrasting, a truly wonderful opera prima. One other thing, I don’t I’ve heard a better engineered album this year, the design sounds truly mesmerizing even if not innovative, it’s just sparklingly fresh. Bufi is also a member of an upcoming band called Neon Walrus; I really like what I hear from them too. As you know, all the music from Poni Republic is free, I honestly feel like I should run to get a physical copy of it like I do with almost any album that gets a rating of 80 and above, but this is pure digital.
PICOTERO, MONARETA Nacional Records, Colombia **** Rating: 82 By Carlos Reyes
Picotero is as fun and unexpected as Coconot’sCosa Astral, but spicier, and as colorful as En Ventura’sEP, but spicier. This is how we love our alternative music; Andres Martinez and Camilo Sanabria make a gold solid third album with pure confidence and control over their fusionist proposal. Fusionism not in political terms but musically, because in Picotero we find a musical freedom where airs of innovation and airs of traditional music manage to coexist. This is the most recent release by Nacional Records, which has proven to be today’s most dynamic alternative label. Monareta joins the target audiences of fellow Nacional artists Mexican Institute of Sound and Nortec Collective. Picotero is infectious dancehall music with Caribbean personality and some very entertaining verses that don’t interrupt the fun a bit. “Matanza Funk” is immediately memorable because of the informational samplings in its introduction and its cool rap verses that serve as ammunition throughout the album. It is great to hear Monareta’s explosive tribal sound floating around a computerized space of encounter. “Raimundo llevate al mundo” is simply adorable; the world can go to hell as long as I get to know Emily & Margarit. The best song in the album also has the breeziest title “Domingo Lovin Style”, a song that doesn’t let anything to get in its way and says it how it is, while songs like “Todo el voltaje” and “Break Tocaima” will get you naturally doped. I’m not sure what the whole biking image is about, but it sure is a fun ride not to be missed.
ío Arriba, Chancha Vía Circuito
