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ARTiST....: gotan project
TiTLE.....: lunatico
LABEL.....: ya basta
GENRE.....: electronic
SOURCE....: cdda
QUALiTY...: VBR / joint-stereo
SiZE......: 76,5 MB
REL.DATE..: 03-04-2006
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01] amor portena 05:07
02] notas 04:20
03] diferente 05:22
04] celos 05:31
05] lunatico 03:00
06] mi confesion 04:21
07] tango cancion 04:23
08] la viguela 05:00
09] criminal 03:35
10] arrabal 03:58
11] domingo 04:14
12] paris, texas 06:43
TOTAL TiME : 55:34 min
In November 2005, just minutes before the Gotan
Project were due onstage at the Gran Rex theatre
in central Buenos Aires, Argentina, band guitarist
and native Argentine, Eduardo Makaroff, summed it
all up in one key quote: "The lyrics of many of
the famous tango songwriters would always talk
about going back to this city, and so we're
returning to the South and to the place that's in
our hearts."
Seven months previous, Eduardo and fellow Gotan
producers; Parisian Philippe Cohen Solal and
Swiss-born Christoph H. Mⁿller, had flown from
their homes in Paris to record the new album,
'Lunatico', in Buenos Aires' prestigious Studio
ION - the famed venue where tango greats like
Astor Piazzolla had once laid down their aural
magic to vast reel-to-reel tape machines.
Sat in on the sessions with them were a host of
local session musicians; a complete string
section, two emcees, one trombonist and Argentine
piano legend and long-time Gotan collaborator,
Gustavo Beytelmann, conducting much of the musical
goings on.
Five years on from breaking new ground in tango
and electronica with their debut, 'La Revancha Del
Tango' - now having sold in excess of a million
copies worldwide, and shows anywhere from Tel Aviv
to Tokyo in between, the band now had the small
matter of developing the longstanding love affair
that the public had now embarked upon with tango
to concentrate on.
"We really wanted to explore both tango and
folkloric music from Argentina a lot further than
we had before," says Philippe. "That's why many of
the tracks are really classically
tango-orientated, very traditional patterns that
people like (Anibal) Troilo would use."
The resulting material from those sessions was and
is quite possibly their most accomplished work
yet. Not wanting to replicate any of what 'La
Revanchaà' had originally achieved musically,
Philippe, Christoph and Eduardo subsequently flew
back to Paris two weeks later to begin the second
leg of work on 'Lunatico' - named, quite
appropriately, after tango hero Carlos Gardel's
champion racehorse of the 1930's.
Fellow collaborators; Argentine Bandoneonist, Nini
Flores, and Barcelona-based vocalist, Cristina
Vilallonga, joined up with them at their
Substudioz back in the French capital and thus
began the completion, hidden under top secrecy, of
'Lunßtico'.
With a decidedly stronger emphasis on the more
organic roots of tango, almost to a classical
level, 'Lunßtico' has taken one step backwards in
order to move two steps forward in what not only
the Gotan Project, but also many of Argentina's
top tango musicians see as the progression of
their beloved music's ever-evolving lifespan.
"Recording this album was a more natural process
for us all," Philippe adds, "as we wanted to
continue the tango experience and in ten years
time hopefully we'll still feel the same."
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