In answer to a journalist of West-France which required my opinion on Gotan Project
From my point of view, without anything to know with the electronic music, I find that the idea to bind the electro one and thetango are obviously enthralling and increasingly obvious. Now I have doubts as for the interest of the result which, for me, does not bring anything to the tango and I do not believe either in the electronic music. But that is perhaps not the goal. I knowthe completely sincere step of the protagonists with whom I was likelyto speak and to exchange on this phenomenon which has them so surprised and whose width leaves incrédule.
I listened to the disc without much enthusiasm and am very quickly aggravated by the repetitions (loops), then as I am curious I was to twice see the spectacle (in November 2002 and April 2003) and there, I could foresee the fascination which this music in a primitivedirection exerts almost, tribal, musical instinctual feelings (without dividing because the noise level and the visual aggression, me which am accustomed to the acoustic music me are intolerable). They almost exploit a phenomenon of fright. The public is more than enthusiastic, that it is sure.
What imports my reserves vis-a-vis with general adhesion.
The great interest of the success of Gotan Project, seems to me it, not knowing badly the Argentinian music, is to open this music which touches a priori little the young people who listen to usually the current musics (although I would be young person) to make them foresee sounds which will perhaps lead them to come to discover other successful experiments (in my opinion) of fusion between jazz and tango (Adrian Iaies – www.adrianiaies.com.ar, Blas Rivera – www.blasrivera.com), between contemporary music and tango (Gustavo Beytelmann, Marcelo Nisinman), between current musics and tango (many young Argentinian musicians today but also of going towards the traditional tango with (and that connaîsse well the members of Gotan Project)…
The singer for me, is not with the height and in the field of the voice and the song, other experiments are to be announced (even ifI do not like them all): Adriana Varela and Daniel Melingo, inter alia.
Without sharing the madness Gotan Project, I by of delighted in this dimension by shared pleasure and to make known differently this sonority in its diversity.
The innovative dancers of tango use already this music for some demonstrations, beyond the dancers who accompany the spectacle from time to time (Victoria Vieyra and Pablo Tegli or Juanito Juarez and Kahena Saïghi or Maria Filali).
Obviously, the wave of Gotan Project gives already place to other groups, other tests but only time will say to us if the influence will be comparable with that of Astor Piazzolla. Personally, I do not believe in it but remains with listening.
Piazzolla has an exceptional influence, of which it is even still difficult for much to exceed and is played by the largest interpreters of classical music (Yo-yo My, Gidon Kremer, Daniel Barenboïm…), of jazzmen (Gerry Mulligan, Gary Burton…).
The future will say it to us. But thanks to Gotan Project, the sound of the bandonion is in many ears and that delights me, if the public opens and becomes curious with other prospects.
By then, I await with curiosity if it is not impatience the nextalbum of Gotan Project.
Even my best friend has the music of Gotan Project on her responder, one cannot fight.