Cómeme have announced details of the Chilean-born producer’s third album, to be released in June.
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The kindly folks at Cómeme are offering a free download of Alejandro Paz’s gurgling acid house jam, “Texit”.
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The Juno Plus radar switches destination to South America with a killer inclusion from Cómeme’s self styled neo minimalist lunatic jammers Djs Pareja.
Since surfacing with a terrific debut EP for Matias Aguayo’s Cómeme imprint in 2009 (the delightfully odd, lo-fi house masterpiece “Guerrero”), Mexican maverick Rebolledo has carved a niche for himself as a producer of weird and wonderful, often stripped-back house music that’s as likely to boast twisted guitars or barely decipherable high-pitched vocals as bowel-bothering basslines and scratchy, almost under-produced percussion. It’s no wonder those who enjoy their house leftfield and experimental have declared him to be a genius.
Given this, it’s perhaps little surprise that this debut album is getting plenty of attention. It expands on his previous peculiar but invigorating releases, offering up a selection of tracks that veer from the raw and brutal to the surprisingly cute and cuddly. While the old trademarks remain – particularly the oddball vocals (occasionally high-pitched and delirious, much like those employed by Mungolian Jet Set man DJ Strangefruit, at other times dark and nightmarish), wonky drums and a mix of both live and programmed percussion – Super Vato sees him travel outside of his comfort zone for the first time.
If bouncy opener “Canivalen” is traditional Rebolledo fare, the same can’t be said for the spiraling synths, brutal bottom end and dub-laden drums of the subdued “Steady Gear Rod Maschine” or kraut-flavoured, Kompakt-ish “Positivisimo”. Or, for that matter, “Aire Calliente”, which opens with two minutes of hypnotic cosmiche synths before developing into a delcious dancefloor murk-out. “Steady Gear Rebo Machine” offers a thrilling, off-kilter excursion – all fuzzy drums, alien synth pulses and freaky background noises – whilst “La Pena”, the first of two collaborations with Comeme boss Matias Aguayo – sounds like sparse South American synth-pop made by a trio of Mexican crackheads after a particularly heavy night out.
Then there’s the joyous muscle car celebration that is “Corvette Ninja”, a kind of acid-flecked electro-disco ride through Mexico City in the company of Patrick Cowley, Giorgio Moroder and a clutch of Italo-disco revivalists. As if all that wasn’t enough, Rebolledo draws proceedings to a close with the sort of raw, loose and cacophonous drum workout (“Te Conozco Moskow”) that will have all but the most conservative listeners joyously reaching for the tequila.
Super Vato is perhaps not the easiest of listens, but then that’s not Rebolledo’s style. He’s much more interested in exploring the possibilities of utilizing lo-fi elements – slack drums, vintage synths and raw vocals, particularly – in a genre full to bursting with slick, overproduced material. As a result, Super Vato is arguably one of the most interesting and exciting house albums in years.
Matias Aguayo’s Cómeme imprint is seemingly matched only by the equally fledgling Pampa label for sheer precociousness and uniqueness of sound. So far this year the label has introduced these gleeful ears to the sounds of Argentinean Ana Helder – we defy you not to pick your jaw from the floor after hearing “Complicado” – and Cómeme indulge in curveball tactics for their next essential drop.
Chilean Pop squarely throws the focus down on Aguayo’s hometown of Santiago de Chile and sees a selection of Cómeme’s key players remix tracks from bands that form the city’s underground music network. Not being particularly au fait with either the bands in question or Santiago’s music scene in general, it’s naturally a bit futile to attempt comparisons. What is clear however is how easily adaptable the source material is to the humble art of booming club music.
Aguayo himself teams up with Markus Rossknecht under the Broke guise to remix the band Fredi Michel – turning “Enganami” into a mutant discoid future classic. It’s quite simple yet utterly effective in execution as layers of off kilter rhythmic textures are introduced whilst the organic melodic elements are teased out playfully – this is a remix stamped with Aguayo’s own unique palette of sound. The same band get remixed by Diegors, whose Percapella rerub of “Marinero” can only be described as a bunch of Chilean cold wave enthusiasts doing a Miami bass cover version of the Strafe classic “Set It Off”.
Diegors appears again on the flip as part of the Cómeme all star team that do a flip on $990’s “Gatito” which matches the A Side endeavour in the quality stakes – bringing forth a shuddering EBM proto techno flex which should be at odds with the gentle vocal harmonies that ripple atop! Rebolledo goes solo for the final remix, switching the pace right down to Sex Jam on Javiera Mena’s “Hasta La Verdad” which suddenly drops into a seemingly endless epic combination of John Carpenter style arpeggios and delayed vocals.