Arroniz is a Mexican synthesist (full name - Miguel Arroniz Castrillon). The album Contacto starts with a loop-based piece called "Los Elegidos". Quite a neurotic track, with upbeat rhythm and repeating melody, like a sonic illustration for a documentary about rush hours. The title track is next. It starts with deep growling synths and myesterious notes over a choir backdrop. Soon a dramatic theme is introduced. This is quite bombastic stuff. After a while the track gets more subtle, with various small splashes of melody and still quite manic sequencing. Reminds me late 1980's Klaus Schulze, but not quite. More sequences are added and it turns into a monster of a track, it's so rhythmically complex. Various sequences tend to some and go while the track maintains its aggressive, propulsive beat. Throughout the length of the composition, some short solos are used to great effect. The track ends with a growling synth pattern. "Shout Your Freedom" starts with a bass sequence to which a fast-paced rhythm is added. After a while a solo appears and dominates, without sounding upfront. Arabic scale is chosen, reminding on Schulze's playing on Body Love . "Raceway" is basically a Techno number, with fast-paced rhythms and various sampled sounds arranged into sequenced structures. "Carminata Espacial" re-introduces Berlin School sequences, together with mysterious solos and various atmospheric opressive sounds. After 5 minutes, a nice electric piano theme appears and serves as the conclusion for this busy number. "5000" is like being in a bazaar full of exotic spices. What we get basically is ethnic percussion and Arabic melodies. I suppose that's how Electronic Music for the Middle East should sound. Later in the track, a steady beat serves as the basis for the music. "Grita tu Libertad" has an almost dance quality to it, with a hot rhythm and sampled guitar. Doesn't sound like EM to me, but still a nice track. "Tierra de Dioses" starts with deep gong sounds, a tinkling bell sequence and dramatic string chords. A slow bass drum rhythm appears making the track sound like some music for a funeral procession. Soon a vocoded voice appears, while Arroniz improvises using bell-like timbre. The rhythm becomes more complex and the track more intense. More sequences are added, as well as a sampled electric guitar solo. The track ends in an over-the-top manner, like an overblown Classical symphony would. Contacto is a diverse CD with a nice range of sounds and styles. There's also a hidden track here that I won't say anything about, except that it's great!