Review: The name Solidarity Forever is deemed as a motivator for Comeme's everyday actions - and as a reminder of why we they are doing what they do. In the third volume of the series, they celebrate the label's much awaited image revamp, with label head honcho Matias Aguayo serving up another bunch of indie-dance heroes doing great things at the moment. Previous guests Ana Helder and Rizu X are joined by Cologne veteran Christian S. who delivers some gritty electro-punk in the vein of legends Suicide on the noir-ish "Chevy Bounce", Aye Aye (a project by Carlos Reinoso, one of the most prolific and credible characters of Chile's musical underground) is responsible for "No Play FTC" while The Trick Baby gives us an emotive and sunkissed groove with their mysterious debut.
Review: Showcasing an evolution in the label's history, the second volume of Comeme's Solidarity Forever introduces a visual makeover for the imprint and music by new artists. The title refers to their motivation as a label and the reason behind their everyday actions - acting as a reminder of why they do what they do. The second volume here features Mexico's Lizett Montiel aka Rizu X with the tunelling and haunting mood lighting of "Dark Jungle", Argentina's Ana Helder with her distinct brand of house on the energetic "Pizza Delivery" and Chilean producer Vaskular with the Miami bass influenced bounce of "Ah! Ah! Ah!".
Review: Comeme showcases an evolution in the label's history, on the soon to be released volumes of Solidarity Forever. Introducing new artwork, a new logotype and most importantly of all - new music by new artists. The title refers to their motivation as a label and the reason behind their everyday actions - acting as a reminder of why they do what they do. The first volume features label head honcho Matias Aguayo, with the jagged and angular tropicalism of "Selvagem", some deep down and dirty punk-funk from the magnificent pairing of Daniel Maloso X Red Axes on "En La Oscuridad" and Medellin based newcomer Gladkazuka with the sludgy lo-fi techno of "Futuro Caos" providing something a bit more hard hitting.
Review: Borusiade is the alter ego of Miruna Boruzescu, who has released Eps on Cititrax and Comeme. A Body, his debut album, gives full vent to his artistic palette. It starts with the slow motion clatter of "Cluster" before moving into the mesmerising Gothic vocals of "Breathe". The tempo picks up somewhat with the dense, bubbling "Dormant", where Boruzescu indulges his love of mysterious electronic music. On both "Silent" and "An Aquarian Feeling", the Romanian producer moves into a world of lo-fi rhythms and drones, one that Sandra Electronics occupies, but showing his diverse approach to composition right to the end, "Undone" is a lush, orchestral affair.
Review: DJs Pareja have played in the most important clubs and festivals in Argentina and worldwide, taking their personal and eclectic style to dancefloors wherever they go. Core members of the Comeme label run by Matias Aguayo, the duo have been integral in defining the new school of Latin techno. "Alto" was released in late 2016 and reappears with a bunch of killer remixes now. London's Photonz goes back the sounds of west coast tribal tech house from the early noughties with his rework. Equally dark is the tunnelling and tripped out rendition by Argentinian label staple Ana Helder on "Mad Box". The real winners on here though are Salon des Amateurs resident Christian S' version of "Bwoo" which really nails that new wave of Cologne sound to a tee! Honey Soundsystem member Jackie House closes out this great EP with his stripped back acid attack on "Club De La Locura"
Review: Comeme's latest missive comes from Vaskular, a Chilean producer previously associated with the Discos Pegaos imprint. In keeping with Comeme's love for cross-cultural fusion (think club-ready blends of South American rhythms, fuzzy electronica and skewed instrumental synth-pop), the four tracks neatly defy lazy categorization. Check, for example, opener "Pal Caliente", which joins the dots between Cumbia, electro, UK funky, tango and analogue synth-scapes, the melancholic dancefloor electronica of "Stent", and the dubbed-out wonkiness of "Alarma", which sounds like a Chilean take on Golden Teacher. Vocalist Yula Kasp lends a hand on the pitched-down alien funk of "187000", which rounds off a brilliant EP in fine style.
Review: It's no coincidence that Bendiks comes from Tromso; it has long been one of Europe's house and techno capitals, with Bjorn Torske, Mental Overdrive, Biosphere and Royksopp all hailing from this small Norwegian city. This release on Comeme sees Bendiks exploring the distinctive Tromso sound, with tracks like "Hjemme" and "Kaia" combining poppy hooks with hazy textures and lazy tempos. That's not to suggest that Bendiks is shy of banging the box; both "Moped Jacks" and "Tellstainnj" are tough, jacking affairs and on "Noir" she drops a noisy, muddy techno track, but at every turn her production is defined by an offbeat, almost otherworldly, sensibility.
Something About The Groove (With Elbee Bad) - (6:22) 120 BPM
Taxi Rank - (6:21) 125 BPM
Esquina - (6:14) 80 BPM
Sm5 - (4:53) 125 BPM
Review: Comeme felt a connection to the electronic beats from South Africa since its inception with tracks like "Pata Pata", "Osea... Hello", "El Sucu Tucu" and many more being testament to this. DJ Spoko, partner of DJ Mujava, for whom he wrote and produced the legendary "Township Funk" is one of their main influences. The label is said to have quite a following in Johannesburg and Aguayo was elated when invited to play there. He met Spoko, they put together these tracks that the label themselves claim "carry the spirit of this label, the vibe of Joburg nights" and started to jam with him in a studio in the centre of the city! The spooky title track features 8 bit melodies atop of tribal chants and crunchy beats, the funky and broken riddims of "Something About The Beat" are definitely geared to rock the dance floor later on at night while "Esquina" dives right into the exotic on this esoteric jam filled with humming bass, bird calls and hypnotic polyrhythms.?
Review: DJs Pareja are an Argentinean duo who have been releasing sporadically on Comeme since the late 00s. For their latest outing on Matias Aguayo's label, they present a variety of styles. "Bwoo" is an acid-heavy roller focused on a central buzzing riff, while "Mad Box" sees the pair edge their way into Helena Hauff territory, as a night bird's shrieks and howls over gnarly 808s and a rumbling rhythm. In stark contrast are "Club De La Locura" and "Alto". The rhythms still swing but they are clean and angular; combined with woozy synths and whooshing sound effects, they round out another diverse release from this unpredictable pair.
Review: Sebastian Hoyos is a Colombian DJ and producer from Medellin who has been releasing on Comeme Records since 2012 when he first presented the Chupa EP. "Los Muchachos" is his new single and follows a darkly balearic path like much of his label mates at present with its '80s Italo horror film synths, grinding rock bass and harsh drum machine strikes all working to perfection. Second offering "La Grua" features a bit of help from DJH and gets all slo-mo and low-slung on you with its woozy deep-latin groove. There's also a killer remix of it by Salon des Amateurs resident Detlef Weinrich aka Tolouse Low Trax. His "Interview remix" injects some added oomph into the track in typically stylish fashion.
Review: Berlin-based Romanian Miruna "Borusiade" Boruzescu was initiated into the Comeme family late last year, when he delivered a fine remix of Ana Helder's "Track Con Flute" for the superb One Night In Comene Vol 4 compilation. Here, he gets a chance to showcase his own productions for the same label, delivering a five-track debut EP full of atmospheric compositions and intoxicating ideas. There's a stylish darkness about much of the EP, from the minimal wave/dark synth-pop drowsiness of "Jeopardy" and exotic, Giallo-influenced charm of "Rescue", to the cacophonous drums and strobe-lit melodies of "Dancer's Doom", and throbbing, John Carpenter style horror of "Haunted By Flashlights".
Review: The work of Sebastian 'Sano' Hoyos, Gregorio 'Gladkazuka' Gomez, Natalia Valencia and Comeme boss Matias Aguayo, Rionegro is a true product of its environment. It came about after the foursome jammed together in a town of the same name, just outside Medellin in Colombia. Inspired by salsa and merengue as well as Aguayo's leftfield take on house and techno, it's a vivid affair. It begins with the jazzy "Lugarena", before the quartet plunges into the Duane Eddy-esque guitar duels of "Negro Empelota". By the time they have reached the party rhythms of "Carruseles", the work really hits its salsa stride, while "Llego El Don" is imbued with a merengue swagger. It's house and techno shot through with some pura vida magic.
Review: Deep, energetic, salsa inspired groove here courtesy of Mathias Agauyo's new band, also featuring label mate Sano from Barcelona and Medellin rookie Gladkazuka. It's supposedly named after the very town in Colombia where the recording sessions originally took place. "Amazonas" is the first track from the group's eagerly awaited debut album coming out in late October 2015, and what a track. It's whirling, tremoloed melody hovering above some seriously entrancing exotic percussion and throbbing bass that gets the party started in a way that only a Comeme record really can!
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: Until the release of the first two volumes in the El Rudo Del House series earlier this year, Matias Aguayo hadn't put out any of his own material on Comeme since 2009. This third instalment in the series is as essential as its' predecessors, offering a quartet of quirky, South American influenced house and techno jams. There's naturally much to admire, from the low-slung bass, metronomic rhythms and pitched-down vocal samples of "El Grubb", and thumping, Cumbia-influenced madness of "Ven Aqui Que Te Destapo", to the tribal drums and sludgy, mind-altering bottom-end of "El Volcanio". Best of all, though, is "Chup Chup", a sweaty, basement-bothering, choppy house workout destined to raise the tempo in more than a few clubs this summer.
Review: Comeme has already released one of the great records of 2015, Lena Willikens' Phantom Delia. Now it's the turn of label owner Matias Aguayo, who delivers the second installment in the El Rudo Del House series. "Tomada" is a rowdy as a bar room brawl in Tijuana during spring break, its drums smashing and crashing with the ferocity of chairs and tables being flung by tequila-fuelled trustafarians. "69 Ground Floor Left" sees the Comeme boss edge closer to the dance floor with a buzzing bass and wired vocal samples, while the hardcore stabs of "Gato Disco" and the hard percussive stomp of Loca Dance is the most techno-centric track. However, soon enough Aguayo lurches back towards the blind-eyed lurch he started with as "Ese Pompin" proves that he's a producer of considerable range.
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: It's hard to believe that Phantom Delia is Cologne-based Lena Willikens' debut record as it has more personality and identity than 99 per cent of music being released right now. Bookended by the dense, droning title track and the brooding bass textures of "Howlin Lupus", Delia is as expansive as it is diverse. "Nilpferd" is a spooky soundtrack about an unfortunate soul who has lost their way, while "Asphalt Kobold" sees Willikens drop slow-motion hip-hop beats and punishing subs. Despite all of these offbeat twists, there is also no doubt that Willikens can rock a dance floor - "Noya Noya" is led by tight 808s and noirish electro stabs and "Mari Ori" is a brilliant, mysterious groove whose only, admittedly vague reference points are Clock DVA and Silent Servant.
Review: Here's a deliciously simple idea from Matias Aguayo's Comeme label: DJ friendly re-edits of tracks from Russian producer Philipp Gorbachev's decidedly off-kilter Silver Album. Aguayo shows the way, turning the loose and eccentric "Distance" into a heads-down chunk of no-wave house complete with military drum rolls and a whisper of acid freakery. Elsewhere, look out for an inspired EBM style reinterpretation of "Arrest Me" from Optimo man JD Twitch - arguably our pick of the bunch - and a brilliant, slo-mo blend of "New Sound" and "Silver Symphony" from Ana Helder. Oh, and a no-nonsense reinterpretation of "What Do You Need" from fast-rising, former Hot Creations man Danny Daze.
Review: Having recently dabbled in the artist album format, Comeme turn to matters of a compiled nature with this fine collection of tracks presented under the banner Gasoline. Fans of the label will be pleased to see that Ana Helder contributes the title track, whilst Argentinean selectors Djs Pareja appear twice with one track a collaboration with fellow Comeme mainstay Alejandro Paz. It's also great to see the label introduce a few new names, with the self-styled GlasGoan Auntie Flo a perfect fit for Comeme given his previous output for Huntleys & Palmers, Permanent Vacation, Mule and Kompakt Extra. The presence of Mexican duo Zombies In Miami, Portuguese 'Bachelor House' advocates Voxels and Chileans Vaskular and Valesuchi suggests Comeme's A&R skills for uncovering new talent remains as keen as ever.
Transilvania No Mercy (feat Los Malos: Lord Byron, Gladkazuka & Cucharita) - (5:03) 127 BPM
Boqueron - (5:19) 136 BPM
Necrophilic Love (feat Diegors & Daniel Maloso) - (5:10) 123 BPM
Review: There's something distinctly old-fashioned about this debut album from Colombian techno/tech-house upstart Sano. Take "Paranoia", for example; with its alien bleeps, cosmic rhythms and distinct urban atmopsherics, it sounds like an unlikely early '90s face-off between Richard H Kirk, LFO and Renegade Soundwave. There are plenty more vintage references throughout - see the murky acid of "Me Without You", and the sci-fi synths and sparse drum machine rhythms of "Contoneate" - alongside a range of weird, wonderful and entertaining tracks that veer from tropical hypnotism ("Anestesia") to wobbkly analogue funk ("Transilvania No Mercy"). As a result, Sano is a hugely entertaining debut.
Review: Matias Aguayo's Comeme imprint is one of the most refreshing dance labels of recent years precisely because it doesn't follow a pre-determined path. As this compilation shows, Comeme's approach is refreshingly chaotic, even when the same artist is concerned. For example, Ana Helder's contributions range from heavy, grainy jack tracks such as Aguayo's take on "El Groove De Tu Corazon" to low-slung, cowbell-infested disco like "Eat Me (Carisma version)" and the Rhodesy work-out of "Beating PC". The rest of the release follows this charmingly off the wall direction, with Gladkazuka delivering a dark synth groove and Aguayo himself dipping into relentless ghetto techno on "De Oporto A Paras".
COMEMECOMPILATIONVOL 3 26 Aug 13 Minimal/Tech House
Review: The Visitor sees Matias Aguayo return with his third album, and first in four years with such an absence understandable when you consider how busy running Comeme and touring commitments must keep him. Arriving through said Comeme as opposed to Kompakt who released Aguayo's previous long players, this eleven track album feels right at home on a label that jettisons proto-house, new wave, techno and other indigenous body music with a rate beyond prolific. There's a notably more psychedelic tone to this album and Aguayo remains the captivating force he is throughout The Visitor despite contributions from fellow label artists Philipp Gorbachev, Ana Helder, Daniel Maloso and Alejandro Paz.
Review: If you're looking for something to give a jaded dancefloor a gargantuan kick up the backside, you could do worse than reach for this five-tracker from Alejandro Paz. The Madrid-based producer seems to specialize in the sort of robust, forthright house that comes laden with more energy than a skip full of Red Bull. "Lavapies" and "Different But The Same" lace sharp, rave-influenced synths and atmospheric spoken word vocals over heavy low-end grooves. More impressive is "The Bubble", a hissing, swinging exercise in contemporary acid jack. "Inside Job" sounds like 808 State's "Cubik" on steroids, while closer "El Raver" delivers a relentless trip through '90s "braindance" territory.
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.
Review: Comeme is one of the most brilliantly unpredictable labels and Beating PC shows why it is held in such high esteem. "Puqui" unfolds with psychedelic chords drawn out over a low-slung groove, the synths veering into the realms of tripped out. The title track sees loose drums combined with a languid funk guitar, while there are further surprises on "Eat Me", where a dubbed out bassline and lost vocal intoning 'what are you doing here' is fused with dreamy synths. It's a similar situation on "Voy a Ver", where darker guitar riffs chimes in over a groovy disco rhythm. Maintaining its unpredictable edge, "Berberecho" is a faster, jacking affair with a rubbery bassline and squelchy bleeps.
Review: This unpredictable label drops another four tracks worth of oddball, left of centre grooves. "Tunsten" is all over the place, featuring out of time drums and sped up, grinding riffs climaxing to the sound of mangled fog horns, before it finally sinks into an acid bath. The title track is less disturbed, with a tripped out synth bouncing around the sparse, hollowed out rhythm. "Stac" sees Barnt remain in off the wall mode: this time the drums are dissected and reconstructed, underscoring a brooding bassline. Finally, "Tunsten (Melopella)" offers a more contemplative take on Barnt's sound, its mournful, edgy synths reminiscent of early electronic music.
Review: It is doubtful that Gorbachev has anything to do with his Russian political namesake, but he still does a neat line in paranoia on "Where Is Rony Douglas". Over shaking percussion and a rattling, live-sounding rhythm, a call and response narrative ensues about the disappearance of said character and the suggestion that he was knocked off by the CIA. Gorbachev also voices his concerns about "Sweet Regina", about whom he informs us "went to China" as a low-slung electronic groove plays in the background. Returning briefly to the approach he favoured on "Rony Douglas", Gorbachev also drops the awkward punk funk of "Last Days of the District".
Review: South American heroes DJs Pareja have been taking their time breaking through since Matias Aguayo picked up on them back in '09, but this forthright single for Comeme should see them score some fresh fans. Lead track "De La Cabeza" is a canny update on the electroclash scene with a grinding bassline dominating the mix but tweaked with a modern twist to avoid sounding too pastiche, while the duo's vocals come in as cold a tone as they could muster from their passionate Latino roots. "No Paren" finds them in a more aggressive rave mode, focusing on pounding drums and more jagged synth work in a track that would make for a great DJ tool as much as it stands strong on its own.
Review: The South American New Wave revolution pioneered by Matias Aguayo's Comeme label continues apace, this time with an album from Mexican producer Daniel Maloso that is, fittingly, deeply rooted in new wave and EBM. While many of Maloso's contemporaries make music that sits somewhere between new wave and nu-disco, he's nailed his colours firmly to the new wave pop mast. The production is sparse and relatively steely, with forays into tougher EBM territory (see "Steady Rolling (All My Life)" and the excellent "Body Music) and funk-infused electronic disco-pop (superb opener "Shera"). While it's well produced, there's a DIY wonkiness that recalls the early days of '80s synth-pop.
Review: Hailing from Colombia, Sano injects some much needed, authentic Latin spirit into house music. "Disco Noche" is reminiscent of the pre-grainy bassline variant of electro house of the mid-00s, with coy drums combined with bursts of trippy synths. But Sano can't contain his South American heritage for long: "Bad Boys", with its wobbly bass and low slung rhythm is like the sonic equivalent of a shoot out at the OK coral. "En Negro" is just as depraved, with cowbells riding more eerie synth lines. However, the undisputed highlight is the title track, where a sassy repetitive Spanish vocal is fused with an acid line and a jacking Chi-town style rhythm.