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viewing 1 To 25 of 47 items
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12"
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COMEME 035EP
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Buenos Aires's DJs Pareja present Alto. The title track is sleazy and ecstatic, with Mariano incessantly repeating "me siento alto" ("I feel high") over a throbbing bassline reminiscent of the most sensual crooning techno. "Bwoo" is direct and made for the impact on the body mechanics - bouncing acidic euphoria. "Club de La Locura" clings to the utopic idea of the dancefloor as an unreal place of dream and magic. "Mad Box" refers to a small and cheap synthesizer locally produced in the outskirts of the capital. It produces a crazy drone that is present throughout the whole track.
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12"
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COMEME 034EP
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Los Muchachos from Sano of Colombia is both tropical and industrial. The title track is an underground jam of pure dark soul (or also deep punk) from a parallel world. Its melancholia though is not romantic and introspective but rhythmical and inevitable. "La Grúa" is the sound of the moving crane outside Sano's flat, like an endless scream of a dying beast. Featuring DJH, it is darkly distorted and built on a fat beat that swings elegantly like the smooth walk of a big cat. Toulouse Low Trax's "Interview Remix" is slow and hypnotic, creating a much darker evolving atmosphere.
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12"
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COMEME 033EP
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Christian S is back with Six Million Bassdrums Later. "Give It Up" reflects the essentially needed "saudade" in dance, like a farewell and a new beginning. "Jonnie SDA" is pure dancefloor frenzy, techno not techno with climbing Afro-futuristic arpeggios and soft and precise low ending drums. "Six Million Bassdrums Later" is a psycho-tropical club anthem, a raw groove experience as you will only ever find it in the house of Cómeme. With "Under The River" Christian S applies the psycho-minimal technique of free floating particles to be softly unloaded upon late night crowds.
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2LP
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COMEME 006LP
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In January 2013, Sebastian "Sano" Hoyos, Gregorio "Gladkazuka" Gómez, Natalia Valencia, and Matias Aguayo gathered at Rionegro, a town on the outskirts of Medellín, Colombia. Others, like Byron Idárraga, Natalia Lara, Luis Miguel "Cuchara" Jaramillo, and more, would soon join the sessions. The project followed a musical spirit that Sano initially invoked by playing salsa, descarga, boogaloo, merengue rhythms on contemporary machines. Each participant was conscious of the aim to create something to which one could dance with the same steps as those used with the great salsa classics, and an authentic representation of the group's love for music, rather than a mere a fusion of styles. Based in a house by the mountains, they recorded during extended late-night jams in and around the house (which is why barking dogs and other background noises are sometimes audible). Gladkazuka worked drum machines and sequencers, recorded, and played his distinct minimalist electric guitar riffs of dark Latin psychedelia, recalling moments when beat and rock 'n' roll embraced cumbia. Sano worked to reinvent the dirty, distorted salsa cowbells, the conga cascades of the energetic descargas, and the aggressive trombones from old vinyl, with production help from Gregorio Gomez and Aguayo. Aguayo programmed drum machines, played rhythms and guitar, and wrote lyrics. Valencia, a composer, was also present for the whole project, and appears on several tracks playing the keyboards, which add another level of ghostly, magical notes and colors to the production. Jaramillo, a young percussionist from Medellín, comes from a family deeply rooted in salsa; he brought his playfulness and groove to most of the songs. Idárraga is something of a musical mentor to all, not only as a living encyclopedia of salsa, house music, and new wave, but also a great rhythm programmer, especially on the 707. After the recordings, the Rionegro crew set out to play in Medellín and Bogotá, testing out their tracks on sound systems and dancefloors. The young house-and-techno-loving audience that grew up with salsa embraced the tracks immediately. The track "Descarga," for instance, with its technoid sound and salsa rhythm, quickly incited salsa dancing in the crowd. People also joined in with the repetitive chants, while Jaramillo delivered his tropical rhythms on electronic drum pads. Rionegro is another installment in Cómeme's quest to create music for the dancers, wherever they may be. Includes covers of tropical classics by Los Mirlos, Willie Colón, and Afrosound.
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12"
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COMEME 031EP
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Bucharest's Miruna Boruzescu aka Borusiade presents Jeopardy, following appearances on Radio Cómeme's Dreamcatcher show and at Berlin's queer landmark SchwuZ. "Spellbound (Surrender)" reveals a hallucinogenic drama of sensualities, sexualities, and emotional and physical bondage, like a score for a collaboration between Béla Tarr, John Carpenter, and Andrei Tarkovsky. "Haunted by Flashlights" incites an electronic trance before the techno epiphany of "Jeopardy"; "Rescue," a slow eruption of cosmogony and rebirth, precedes the enormous drums and synth arpeggios of "Dancer's Doom." Written and produced by Borusiade. Final touches assisted by Gregorio Gómez aka Gladkazuka and Matias Aguayo in The District Union, Berlin.
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12"
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COMEME 030EP
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Buenos Aires techno duo Carisma (Carolina Stegmayer and Ismael Pinkler) follow Directamente (COMEME 025EP, 2014) with their second EP. "Fruta," the EP's most joyful track, incorporates field recordings of tropical mosquitoes and a washing machine's drainage pipe, all put to a bassline. "Discoteca Profunda" is for heavy listening, with electricity, flashes, velocity, and contrast, powerful in the hands of the DJ who dares to drop it. "Conversación Nocturna" is a cinematic interlude before "Vertigo," a prime-time outdoor abstract funk jam. The psychedelic dancefloor narrative of "Dueños de Este Instante" moves through rays of light, velocity, strobes, lasers, and high voltage.
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12"
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ROUND 004EP
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El Rudo del House strikes again with this fourth release of this series, continuing to spread awareness of body mechanics and touring from South Africa to New York City to the multi-colored fiesta at Vive Latino in Mexico City, with sightings documented at instagram.com/danmatiasaguayo. As with the first three Rounds, this colored vinyl 12" includes a life-sized Rudo mask, and contains locked grooves of field recordings from Matias Aguayo's Rudo adventures. El Rudo del House makes each hearing ear a vessel for a dancing mask-clad clan through heavy commercial promotion and eventual sponsorship according to underground strategies of marketplace infiltration.
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12"
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COMEME 029EP
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Dany F presents his first 12", following his contribution to the The Power of Now (COMEME 013EP, 2012) and numerous works self-released online. "Magia" is the perfect peak-time soundsystem jam, full of jaguars and toucans that subwoofer into legendary rainforest giants. "Monitos de la Selva" keeps you on the dancefloor with acidic softness and silky snare drums. "Wouhau" starts with dark, rough, edgy Cómeme-ist beats and synth drones, swinging up via a wild tom drum to altered states of spaced out spiritual interplanetarism. "Quiero Love" is a heavy, stripped-down cumbia house banger with an earthquake bassline and annihilating rhythm.
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ROUND 003EP
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Inspired by Elbee Bad's question, "Why not just dance through life?", Matias Aguayo found radical dancing spirit El Rudo del House, who speaks in a pitched-down voice and produces heavy house rhythms engineered to trigger movement. This is the third EP in the series (following ROUND 001EP and ROUND 002EP), each installment of which includes a mask to "allow anonymity and freedom... to evoke spirits at your celebrations," and images of dance poses in Rudo costume, all designed by Sarah Szczesny. Video lessons for each EP's dance moves, created in collaboration with London-based choreographer Alexandra Green, are available on www.matiasaguayo.com.
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12"
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ROUND 002EP
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"El Rudo del House" speaks in a pitched-down voice and produces heavy house rhythms engineered to trigger movement. This is the second EP in the series (following ROUND 001EP), each installment of which includes a mask to "allow anonymity and freedom... to evoke spirits at your celebrations," and images of dance poses in Rudo costume, all designed by Sarah Szczesny. Video lessons for each EP's dance moves are available on www.matiasaguayo.com. Between the futuro-tropicalism of The Visitor (COMEME 003CD/LP, 2013) and the post-internet undead psychedelia of Legende (KOM 309EP, 2014). Also includes locked grooves of field recordings. Colored vinyl.
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12"
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ROUND 001EP
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"El Rudo del House" is an imaginary creature who speaks with a pitched-down voice and produces heavy house rhythms that are engineered to directly trigger the movement of different body parts. His music resonates with everyday rhythms: produced by big iron apparatuses that cross the sky, by voices that yell through speakers in giant halls, by machines of border security and control, the thinly clipped noise of internet spam on unpleasantly limited computer speakers... This is the first of four EPs of four tracks each plus locked grooves of field recordings from Matias Aguayo's adventures and life-sized El Rudo masks.
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COMEME 028EP
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Lena Willikens is a secret encyclopedia on everything Düsseldorf (see her involvement in Salon des Amateurs), everything Brussels, and everything new wave; a white Reeboked Taeuber-Arp version of an oddball techno DJ who delicately refuses the obvious pattern of dance communication. "Phantom Delia" (produced with Matias Aguayo), which could be regarded as a tribute to her patroness of choice, Delia Derbyshire, delivers the feverish schizojoy of deviant data music from this moonlit, monstrous, red-eyed, and grinning deity. The sublime pairing of technorotique lunatic lingo ("Howlin Lupus") precedes the question raised on "Nilpferd": can a totally confused hippo recollect its senses?
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COMEME 027EP
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Cómeme presents Argentine producer and DJ Ana Helder's Fiebre de Marte EP. "Don't Hide Be Wild" is a modern psychedelic discoteca monster, while "Track Con Flute" and "Otra Cosa" are almost impossible to place in time. "Fiebre de Marte" surrounds a wobbly bassline with a vocal mantra and a hypnotically modulated synth, slowly but steadily building the ecstatic mood. On "Chabond," rock embraces disco without fear, as heavy drums and guitar stomp, pump, and pound through the city jungle. "Cada Día Te Quiero Mas" breathes the rhythms of Argentine stadium crowds into wah pedal guitars and a morphing synth bassline.
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2LP
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COMEME 026LP
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This double vinyl compilation is 100% dancefloor approved by Comemian DJs. Its tracks have been making the body mechanics work from Santiago de Chile to Cologne, from Tbilisi to Medellin, from Bucharest to Buenos Aires, from Cholula to Hollywood and back. The music was crafted by DJs from the "Inner Circle," meaning the likes of Christian S, Ana Helder, Alejandro Paz, Carisma and Djs Pareja, but also by some lovely guests Comeme welcomes here, for the first time: Voxels from Lisboa, Portugal, Zombies In Miami from Aguascalientes, México, Auntie Flo from Glasgow, UK, Rous from Mendoza, Argentina, Vaskular from Santiago de Chile and Bryan Kessler from Cologne. We start off with Auntie Flo from the label Huntleys + Palmers with "Jas," a pounding slow-jam featuring a rave signal that will make your speakers crackle and burn and your arms go up while your body goes down, down, down, to the rhythm. This one's followed by Bryan Kessler collaborating with Christian S. They deliver "Nebel Dance," an underground club track with shoulder-shaking toms and foot-stomping bass drum and bass. Switching to the next side, please welcome, again, Ana Helder, this time with "Gasoline," a crazy teknotika uptempo gem featuring Ana singing: "I wanna smell -- Gasoline! I wanna swallow -- Gasoline!" On that same side of wax we have Vaskular with "Black Jesus." Vaskular is a musician and DJ belonging to that Santiago Underground crew of Discos Pegaos, vocals by Valesuchi. Side C features a very special collaboration of Djs Pareja and Alejandro Paz, recorded at The District Union, Comeme's own studio in Berlin. Alejandro's dark Latin house inertia meets Pareja's psychedelic dancefloor terror to shape this darkroom anthem. Another psychedelic moment follows with Zombies In Miami, followed by a remix done by Carisma for Rous, a young boy from Lujan. The two last tracks are provided by Voxels and Djs Pareja. "K-Hauz" by Voxels reminds Comeme of their roots -- that southern hemisphere groove and that cutting rhythm that will make people dance in more surroundings than just the club. The package wraps up with "Si Senor" by Djs Pareja, which gives us a glance into what the future will bring.
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COMEME 005CD
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Russian dance avant-gardist Philipp Gorbachev is in self-imposed exile -- from Moscow to Berlin -- due to his political views, and for the purpose of joining Cómeme in 2011. This collective of musicians and artists, operating between Latin America and Europe, is known for a killer instinct in producing forward-thinking dance music beyond any standards of the contemporary music industry. Focusing on serving dance music audiences all around the globe, Philipp Gorbachev composes, produces and performs music in a way that resembles the heritage axe of Russian avant-garde and Moscow's Conceptualist movement, rather than following any current dance music tradition. Based on a unique performing and recording technique -- created and tested together with his buddy Matias Aguayo in The District Union studio in Berlin -- Silver Album is a well-collected music piece consisting of nine live performed arrangements, crafted with insurgent Russian lyrics that are fable-like inventions, fairy tales that deal with spiritual vibes, using the sound of the Russian language in order to form a new alternative music. Musicians like ex-Helmet-and-now-Battles drummer John Stanier, as well as co-producers and mixing engineers like Butthole Surfers guitarist Paul Leary; Mexican Cómeme brother Daniel Maloso; or Non Standard Productions head-honcho and Ostgut Ton artist Tobias Freund, have been welcomed by Philipp Gorbachev to take part in the production of the record. The first single of the album, called "Arrest Me," is a dedication to the imprisoned people around the world, a journey-starter towards freedom of spirit, pioneering in never-before-expressed sounds, timing and space control. If you need an easier punchline: it simply is "The First Russian Dance Album."
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COMEME 005LP
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12"
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COMEME 025EP
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The marvelous night-time world of Buenos Aires is reflected by the rhythms and sounds of Carisma (Carolina Stegmayer and Ismael Pinkler), who deliver these tracks directly from their flat through the city's dark alleys to its underground venues -- producing music to play right away, written as a dialogue between studio and booth, at the DJs Pareja's legendary Fun Fun parties, the famous Dengue nights, and other spots. After have done remixes for local friends such as Ana Helder and Rumanians, Cómeme is overwhelmingly happy to present their first full EP.
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COMEME 024EP
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Christian S has been around since the mid-1990s, getting his education from the legendary Cologne house underground of that decade. Teaming up with Matias Aguayo, he soon himself became a key figure to the scene when launching an equally influential fin de siècle club night called Lost. His long-awaited first solo EP for Cómeme may still suggest a sane salute to the likes of DJ Pierre or even Womack & Womack, but the real pursuit of this utter beast of a debut must be summed up like this: Farewell solid ground. Hello sweet vertigo.
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2LP
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COMEME 004LP
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Double LP version. Cómeme presents a 10-track epic from Sano. Sano is a devoted underworld utopian having realized his night-world fantasies with clandestine parties at Medellin's ghost-club Perro Negro where resides strangers, hustlers, tricksters doing their mischievous business while luring curious youngsters. It has been since Chupa! that Sano turned out to be a masterly conductor of such delicate mischievous spirits, and we all love to let them deceive us, as he transforms them into sounds as full of sweet malice as they are of sweet love. Just listen to "Matasanos": bad medicine. And then listen to "Me Without You": an international airport heart-crash jam. And then listen to "Paquidermos": ripped off from Juanito Alimaña's iPod. What else? "I Don't": Back to adolescence. "Contonéate": learned at Julita & Odile's palace in Paris. A James White & The Blacks enlightenment. "Anestesia": late-night painkiller jam. "Transilvania No Mercy" (feat. Los Malos): an asynchronous jam by the black river crew. Diegors is the keyboard slave, and Sano is on drums.
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CD
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COMEME 004CD
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Cómeme presents a 10-track epic from Sano. Sano is a devoted underworld utopian having realized his night-world fantasies with clandestine parties at Medellin's ghost-club Perro Negro where resides strangers, hustlers, tricksters doing their mischievous business while luring curious youngsters. It has been since Chupa! that Sano turned out to be a masterly conductor of such delicate mischievous spirits, and we all love to let them deceive us, as he transforms them into sounds as full of sweet malice as they are of sweet love. Just listen to "Matasanos": bad medicine. And then listen to "Me Without You": an international airport heart-crash jam. And then listen to "Paquidermos": ripped off from Juanito Alimaña's iPod. What else? "I Don't": Back to adolescence. "Contonéate": learned at Julita & Odile's palace in Paris. A James White & The Blacks enlightenment. "Anestesia": late-night painkiller jam. "Transilvania No Mercy" (feat. Los Malos): an asynchronous jam by the black river crew. Diegors is the keyboard slave, and Sano is on drums.
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2LP+CD
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COMEME 003LP
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180 gram gatefold double LP version. Comes with a CD of the album. To those of you unfamiliar with Matias Aguayo, he remains a core Kompakt recording artist and one of today's most ambitious music makers and collaborators. Be it from his early days as half of the now-legendary techno act Closer Musik, to singing for Battles on their recent hit "Ice Cream," Aguayo makes Cómeme his platform to work with fellow musicians from around the world and continues to push all notions away of what dictates trend in order to create his own. Matias returns with his third solo full-length, The Visitor -- recorded over the course of five years in various places around the world including Buenos Aires, Ciudad de México, Vitry-Sur-Seine, Rionegro (Antioquia, Colombia), Sternhagen Gut, and his studio -- The District Union in Berlin. As with his previous albums, Matias Aguayo unveils a perplexing and unexpected offering. Rather than appealing to a specific genre, he considers rhythm as a core influence in The Visitor and delivers what could be his most purposeful music to date. A collaborative process plays a dominant role on this album, articulating Aguayo's attentiveness to the community that surrounds him. Mixed and co-produced by Scott Monteith aka Deadbeat upon first hearing The Visitor, long-time fans of his music will be immediately aware how the songs sound natural and immense. The secret is not just in the mix but due to the fact that there are numerous musicians and vocalists performing on each track. By utilizing so many layers of analog and acoustic instrumentation, The Visitor as a whole provokes a distinct listening experience that contrasts the ease of digital processing techniques and the styles of most modern dance music out there today. Guest artists include: Juliana Gattas (Miranda!) and Aérea Negrot (Hercules & Love Affair), Luis Miguel "Cucharita" Jaramillo, Philipp Gorbachev, Alejandro Paz, Ana Helder, Julia Bande, Julia Kasprzak, Amelia Bande, Rodrigo Olavarría, and Daniel Maloso.
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COMEME 023EP
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Alejandro Paz throws himself into turmoil just to come up with an agitating bunch of tracks dealing with inside jobs, pickpocket techniques, fucked-up gear and dark, consuming wishes. With Paz, there's always the oblivious glory of a crude, hypnotic, bass-heavy and self-sufficient beat, and he is well-accustomed with the art of making machines go nuts with mad jackness.
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CD
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COMEME 003CD
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To those of you unfamiliar with Matias Aguayo, he remains a core Kompakt recording artist and one of today's most ambitious music makers and collaborators. Be it from his early days as half of the now-legendary techno act Closer Musik, to singing for Battles on their recent hit "Ice Cream," Aguayo makes Cómeme his platform to work with fellow musicians from around the world and continues to push all notions away of what dictates trend in order to create his own. Matias returns with his third solo full-length, The Visitor -- recorded over the course of five years in various places around the world including Buenos Aires, Ciudad de México, Vitry-Sur-Seine, Rionegro (Antioquia, Colombia), Sternhagen Gut, and his studio -- The District Union in Berlin. As with his previous albums, Matias Aguayo unveils a perplexing and unexpected offering. Rather than appealing to a specific genre, he considers rhythm as a core influence in The Visitor and delivers what could be his most purposeful music to date. A collaborative process plays a dominant role on this album, articulating Aguayo's attentiveness to the community that surrounds him. Mixed and co-produced by Scott Monteith aka Deadbeat upon first hearing The Visitor, long-time fans of his music will be immediately aware how the songs sound natural and immense. The secret is not just in the mix but due to the fact that there are numerous musicians and vocalists performing on each track. By utilizing so many layers of analog and acoustic instrumentation, The Visitor as a whole provokes a distinct listening experience that contrasts the ease of digital processing techniques and the styles of most modern dance music out there today. Guest artists include: Juliana Gattas (Miranda!) and Aérea Negrot (Hercules & Love Affair), Luis Miguel "Cucharita" Jaramillo, Philipp Gorbachev, Alejandro Paz, Ana Helder, Julia Bande, Julia Kasprzak, Amelia Bande, Rodrigo Olavarría, and Daniel Maloso.
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COMEME 021EP
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Comeme presents a 12" from Argentina's Ana Helder, who produces music well away from the regular comfort-zones of house, setting a new scale of dancefloor deepness. "Berberecho" features a trashy bass line and an elastic-band stretchiness aspect on the synths, with hi-hats, sub-bass and toms to make it more danceable. "Beatin' PC" speaks for itself, and "Voy a ver" invokes the deranged disco gods who rule nightly urban boulevard confusion.
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COMEME 020EP
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Barnt teaches us how to exquisitely capture the full yin and yang of the sublime and the lunatic on Ariola. Barnt's style remains a palpable paradox now even more refined. "Tunsten," "Stac" and "Ariola" are marvelously aloof though totally unashamed to exalt the wonderful impertinence of the rave-ritual's key stimuli. Here he practices his vicious dancefloor trickery, provoking precise physical reactions by clearly calculating frequencies which stimulate dance. At the same time all of this is super loony, theatrical, and delicately decadent.
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viewing 1 To 25 of 47 items
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