Even Víctor Hugo Morales, the legendary football commentator, lends his vocals to their first single ‘La Gloria’. The work of Argentinian author Julio Cortázar is honoured through a reading from his groundbreaking novel Rayuela (Hopscotch) on the track of the same name. John lends the smooth sound of the Hammond B3 to ‘Tango Square’. Understated beats, reflective moods and atmospheres rooted in the dusty backstreets of Buenos Aires and Paris, laced with marvellous voices such as Cristina Vilallonga on ‘Peligro’ or Melingo blessing ‘Tu Misterio’.Īlthough in Tango 3.0 Gotan Project remain faithful to their founding principles, they have also managed to push the musical barriers further by inviting an exciting host of guests and collaborators. Here we are then, 10 years on with their remarkable third album ‘Tango 3.0’ which, without breaking such radical new ground as their debut, has refined all the founding elements of what makes the Gotan Project the wondrous thing that it is. Gotan Project not only established a unique and highly influential sound but they’ve also preserved the class and elegance of this instrument. Ever since then I’d been seduced by the bandoneón as an instrument and was curious about hearing it outside of its traditional bubble. I’d always been a fan of Astor Piazzolla who I’d seen performing at Montreux Jazz Festival aged 14. The million selling ‘La revancha del tango’ was followed by their second album the more jazz influenced ‘Lunático’ and Gotan Project toured the world with their new “world music”. the merging of DJ culture with music from the worldwide underground – Gotan Project were the first to successfully bring the traditional and the folkloric into the electronic space. But when it comes the new “world music” ie. Gotan Project ©Prisca Lobjoy Biography by Gilles Peterson As we step into 2010, music blares from the radio that quite comfortably merges rhythms from Serbia and Colombia, the voice of Oumou Sangaré and the melodic thump of Maori reggae.
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