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Ay Ay Ay, the second full-length effort from Chilean-born, German-raised Matias Aguayo (who now splits time between Buenos Aires and Paris) is, in source and spirit, one of the most human dance-pop records of the year.
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It's primal, life-affirming and powerfully personal, demanding to be heard.
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If this is not the most live-sounding dance album made with synthetic instrumentation, it must be pretty close.
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MojoA dizzying series of minimalist Afro-psych mantras, Ay Ay Ay interlaces eccentric pounding beats, multitrack boom-tsch hiccups, and nervy fragmented vocals, building a groove that crackles with the rhythmic perversity of Arthur Russell's strangest sound experiments but drives on like a reborn TV On The Radio who've learnt to lose it down the disco. [Jan 10, p. 90]
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Ay Ay Ay is a sticky-sweet, unbounded mess, but only the priggish and unimaginative will hold that against it.
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Ay Ay Ay does veer closely to the edge of overextending itself by its completion and, by result, making a strong case for listener fatigue--but who said dancing was easy?
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It’s a clever and often highly entertaining album with inbuilt limitations, but if you buy one record this year whose title is possibly a reference to Bumblebee Man from The Simpsons, it should probably be this one.
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Dip into Ay Ay Ay at leisure and it’s an arresting thing, each song humid with spittle, slick with tongue spit, bumptious and sashaying around the mouth. But when locked together, it’s too homogenous.
Awards & Rankings
User score distribution:
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Positive: 4 out of 5
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Mixed: 1 out of 5
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Negative: 0 out of 5
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Sep 1, 2011