Within the space of the first few bars of opening track Amor porteno one feels like a stranger walking into the seediest bar in Buenos Aires. The drunken bassdrum and liquid double bass set the scene for a seductive vocal number, featuring the enticing piano virtuosity of Argentinian pianist Gustavo Beytelmann.
This whole album is inextricably linked with the organic
roots of Tango, and having been recorded with several highly accomplished session musicians from Buenos Aires, and the silky vocals of Cristina Villalonga, can’t fail to impress anyone with even a passing interest in the Latin persuasions.
Second track Notas is more upbeat with an organic swinging latin house groove, scattered film noir strings spoken word Spanish vocal. Diferente keeps the groove hot with film score strings, panned violins & deep progression.
Celos slows the pace to give space for more margaritas to be sipped, cigars to be lit & flirtatious glances to be exchanged before the next track Lunatico whips your sexy senor or senorita
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into a frenzy on the dancefloor. Mi Confesion introduces a bit of squelchy electronica over an infectious fast hip hop beat. Rapping duties are carried out with skill by French emcee Koxmoz, and it really is a head nodding, booty shakin’ piece.
Tango cancion is dripping with a lazy, filtered & delayed beat, violins, muted trumpet and telephone band eq’d sultry vocals
from Cristina the siren. La Viguela marries guitar, accordion, vocoder’ed voice & subtle electronic trickery over a straight-up hip-hop beat. It reminds me slightly of a Plaid song, which is not a bad thing in my opinion. Quality control is unforgiving for the rest of the album, with brilliant performances from the musicians & wonderfully succinct songs. Pure undiluted modern tango. Superb.
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