Music

Five years ago, this Franco-Argentine-Swiss trio released ‘La Revancha del Tango’, an inspired attempt to blend Astor Piazzolla’s darkly romantic ‘nuevo tango’ with dub, trip hop and techno influences. It became essential listening for gentrified clubbers, each of its 10 tracks being licensed for a TV ad, film soundtrack or compilation album. It sold more than a million copies, clearing the path for likeminded fusions of Latin music and electronica (St Germain, Sidewinder, Senor Coconut, Bebel Gilberto, Koop, etc).

The long awaited follow-up ‘Lunático’  probably won’t do as well – ageing ravers who bought ‘La Revancha’ as sophisticated dinner party music will see that most, if not all, of their trip-hop-tinged tango needs are already catered for – but it is a better album. The fusions are more subtle: the juddering electronic kick drums have been replaced by acoustic percussion; the propulsive ‘Diferente’ and ‘Criminal’ have hardly any drums at all, just a rolling acid house bassline under a feast of strings, pianos and accordions. ‘La Viguela’ uses Mirwais-style cut-up acoustic guitar; while tracks like ‘Amor Porteño’ and ‘Celos’ take Gotan’s Portishead-like balladry into torch-song territory. But it’s that wheezing, haunting bandoneon squeezebox that prevents the whole thing from lapsing into acid jazz smugness.