Matías Aguayo: Anenoa review | Ammar Kalia’s global album of the month
(Platoon)
The Chilean-German producer’s shapeshifting vocals stir Latin rhythms, ghetto house, trance and more into a playful party
Over the past two decades, Chilean-German vocalist and producer Matías Aguayo’s mutable, instinctive singing has been an instantly identifiable ingredient of leftfield electronic music. On Battles’ 2011 track Ice Cream, he squealed and tripped through syllables against a thunderous synth backing, while Japanese synth-pop group Crystal’s 2017 track Kimi Wa Monster saw Ayuayo singing a keening, childlike melody over instrumental. His own releases featured layered chants and scatter-gun vocal rhythms over pulsing Afro-Latin beats. While his last record, 2019’s Support Alien Invasion, marked his first foray into instrumental music, Anenoa heralds Aguayo’s welcome return to the mic across a selection of hard-hitting, dancefloor-focused arrangements.
The fast-paced syncopated Latin rhythm of opener Sentimientos Encontraos sets the ebullient tone, with Aguayo’s nonchalant repetition of the title creating a hypnotic motif as bubbling and kinetic as the beat. Sprechgesang gives way to soulful falsetto on the ghetto house-influenced Asuka, Rock, Roll, while vocal processing transforms Aguayo’s party chants into a growling baritone on thumping trance number Avestruz en Veracruz. On the 80s-styled synth-pop of La Heredera, he croons delicately alongside featured Latin American singers Iarahei and Camille Mandoki.
المصدر: The Guardian — Music