Review: One of the undoubted joys of Comeme's output is its' hard-to-pigeonhole nature. This latest EP from regular contributors Carisma is an excellent case in point. While opener "Fruta" is a fluid, drowsy dose of K-hole tech-house, elsewhere you'll find sweaty, acid-inspired Carnival fare ("Discoteca Profunda"), string-laden beatless oddness ("Conversacion Nocturna"), and fuzzy, bouncy dance-rock ("Duenos Dos Este Instante"). As for the title track, it bolts a rubbery disco bassline to horror-influenced electronics and the hypnotic late night attitude of European techno with impressive results. In summary: pleasingly varied EP that ticks all of Comeme's boxes.
Review: Duro's fourth-anniversary compilation series continues with another all-action collection of cuts from their roster of mostly Mexican artists. Fausto sets the tone with "Rumble", a deliciously raw, low-slung affair in which echoing post-punk guitar riffs ride unfussy drums and a booming analogue bassline, before Darlyn Vys layers psychedelic guitars and wild vocals atop a throbbing, arpeggio style groove. Jepe's "Rosmarin" breathlessly joins the dots between robo-disco and acid house, Mordisco's "Sacromonte" is a chugging slab of synth-heavy horror disco and Carisma's "Oto Planeta" is a dark Italo-disco throb-job laden with redlined electronics and foreboding chords. It's an excellent EP for those who like their disco grooves dark, druggy and unflinchingly heavy.
Review: This year, Huntleys & Palmers plan to release a number of split 7" singles, which will also be released digitally. This is the first, featuring tracks from Luna and Alejandro Paz, and Comeme types Carisma. As usual, the standard is high, with Luna and Paz, in particular, impressing with with the wonky, up-tempo synth-pop hustle of "Breathe". It's beats fizz and rattle, the electronics ebb and flow, and the vocals - which, interestingly, first appear halfway through the track - add a distinctively European sense of style. Carisma's "A Las Quince La Manana" is almost as good, with dreamy chords, twinkling melodies and weirdo samples (pitched down vocals, a random cockerel etc) riding a chugging, slo-mo synth groove.
Review: Matias Aguayo's Comeme label has long been a source of decidedly different electronic music - house and techno variously influenced by South American rhythms, post-punk disco, new wave and the deeper side of futurist synth-pop. This fourth label compilation confirms the imprint's unique vision, gathering 10 fine tracks and remixes from the likes of Ana Helder, Lena Wilikens, Sano and Carisma. Highlights come thick and fast, from the psychedelic flutes and foreboding, low-slung rhythms of Borusiade's remix of Helder's "Track Con Flute" and Aguayo's deliciously percissive re-make of Wilikens' "Howlin Lupus", to the early Orbital chords and Intelligent techno rhythms of RRoxymore's "D-Memory".
Review: The wilfully eccentric pushes in a new direction with this compilation. It starts off with Carisma's "Muerte Instrumental", a stomping house affair with a heavy, acidic bass and noisy filtering, sounding like an acid rocker has decided to engineer himself some Chicago jack. Gladkazuka's "El Untitled" is an adventure in Terrence Fixmer-style techno, with grinding EBM basslines and a doomy sensibility prevailing, while Matias Aguayo's "El Transatlantio" is based on a humming bassline and insidious bleeps. Alejandro Paz restores some semblance of normality with "El House", a clap-heavy acid groove with typically nonsensical Spanish lyrics.