Matias Aguayo’s distinctive, flexible singing anchors leftfield electronic music across collaborations and his own releases. After releasing an instrumental record in 2019, he returns to vocals on Anenoa with hard-hitting, dancefloor-focused arrangements. The album opens with the fast, syncopated Latin rhythm of Sentimientos Encontraos, using repeated title vocals to form a hypnotic motif. Sprechgesang shifts into soulful falsetto on the ghetto house-influenced Asuka, Rock, Roll. Vocal processing turns party chants into a growling baritone on the trance track Avestruz en Veracruz. La Heredera features delicate crooning alongside Iarahei and Camille Mandoki. Throughout, playful pitch changes and rhythmic vocal listing create lively, infectious energy that invites dancing.
"Over the past two decades, Chilean-German vocalist and producer Matias 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."
"There's a playfulness to every vocal decision, veering from chipmunk high-pitched tones on Anenoa Pt 1 to the languorous listing of percussion instruments the snare, the cowbell, the shaker on funky highlight The Beat, as if Aguayo has been led purely by whim each time he steps into the booth. It gives the record an infectious, lively energy, encouraging listeners to turn up the volume and dance to Aguayo's irrepressible sounds, no matter where his shapeshifting voice might take them next."
Read at www.theguardian.com
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