It's been two years ago that the metropolitan "Discoteca Cavernícola" (as Daniel would say) was struck by a series of bodytronic thunderbolts under the names of "Venganza y Seducción", "Ritmo Especial" or "No Doy Nada". For Daniel these electrifying beasts were one thing above all: only the beginning. "Ritmo Especial", one of Cómeme's biggest hits to date, was a breathless EBM-ish outburst of bassy monosynth driven funk machine music aimed to inspire manoeuvres of your body mechanics. He coined it "caveman disco". For the dancer it's been pure mechano-mad physique. But then again: just the overture. So say the word Cómeme and think of a delicate dance dungeon where the modus operandi is 1) not asking permission, 2) dispensing all usual preliminary, 3) off the cuff. That's the very element of "In & Out". Cómeme's second long player (after Rebolledos "Super Vato"), is Daniel Maloso´s ode to the seductive powers of the night-time world, a homage to ceremonial cave musica made for the carnal momentum. Moving in sudden shifts it can be cinematic automaton boogie with a leather jacket on ("Shera") or Kraut eaten up by Eurodisco's dark half ("Boney"). It can be a maze of sequenced syncopated baselines pulsating in the name of Soccio's "Dancer" and Cowley's "Megatron Man", gospel choirs on top ("Body Music"). Or just pure stripped out machine funk ("Control y Voltaje"). Call up the children of the night to rise ("They Came At Night". See strangers crossing paths ("Cafe Obscuro"). Share a look with someone and see both of you wishing for an offer ("Mamihlapinatapai"). Follow Daniel's nocturnal passages.