Not long ago, Pablo Diaz-Reixa aka El Guincho was a powerful force in music. He came on the scene with a unique sound that served as a bridge between psychedelic-indie acts and the burgeoning chillwave scene. His first two releases were upbeat and frenetic, and left a solid mark that made him more or less a household name. But after his 2010 release, Pop Negro, he fell away.

What would become his next album was scrapped so he could care for his ailing mother. And after a bad breakup, he was left uninspired to make more music. After six years without any new releases, El Guincho was almost forgotten; a promising career was stifled into a side note of early part of the 2000s. With this newest release, Hiperasia, we are reminded of the scattered sound and penchant for eccentric electronica that made his early work so exciting.

After spending some time in his native Canary Islands, Diaz-Reixa moved back to Madrid and was apparently inspired by a giant market that gives the album its name. If anything, this albums feels full of stuff; it feels as if everything that he saw and experienced was dumped into every beat and every melody. The resulting album is both overwhelming and scattered, and has the feeling of wandering through a brightly lit, overloaded carnival.

There are definitely the familiar elements of his early work all over Hiperasia, but this album is his most electronic and stylistically diverse release. You hear influences of reggaeton, breakbeat, jungle, and dancehall while over-compressed drums rattle in the background and auto-tuned vocals croon out in Spanish. It should be noted here, that Spanish speakers certainly have an advantage in listening to this album, and as a non-Spanish speaker I won’t comment on the content of the lyrics.

Where this album excels it also fails. If you want a bouncy, fun electronic album that is unpredictable you will enjoy it. However, if you looking for the more chillwave inspired stuff or an album whose melodies ripple across jumpy electronic beats, you may be disappointed. The first five tracks of the album, “Rotu Seco,” “Comix,” “Pizza,” “Sega,” and “De Bugas” are approachable, paired back songs with varied beats and heavily sweet melodies. But with “Parte Virtual” the album shifts perspectives.

Soon we’re in the world of manic confusion. That’s not to say that the tracks aren’t good (they are) or entertaining (again, they are) but the way one bleeds into the next, each beat intensifying and calming down in the latter half of the album, becomes exhausting. Candy-coated beats and vocals become cloying and all sense of dramatic thrust is lost in a sea of compression.

This is to say, Hiperasia is a welcome release from El Guincho. However, it seems in his want to capture the delirious swirl of a neon-lighted market-place, Diaz-Reixa has created an album that feels out of his control. You hear the sparks of genius that made him who he is but at the same time, you wonder if some of the tracks could have been pared back. The album, as a whole, could have used a second edit for vibe and content.

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