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Gotan Project
Gotan Project irrumpió en la escena musical en 1999 con su innovadora mezcla de Tango y Música electrónica.
La fundación del Gotan Project se produjo 1999 cuando Müller y Cohen-Solal conocen al guitarrista y compositor Argentino Eduardo Makaroff, quien vivía en París desde 1990.
Este, que había comenzado su carrera musical en Argentina en los 80', junto a su hermano Sergio, con el Duo "Los Hermanos Makaroff", también estaba trabajando con música de películas y series de TV, mientras conducía la orquesta Club Tango de un sitio de moda en París llamado La Coupole.
El grupo lanzó su primer maxi-Single con 2 temas en enero del 2000 ("El capitalismo Foraneo/Vuelvo al sur").
Esto fue en pequeña escala, fabricando únicamente 1000 copias.
Los temas comenzaron a sonar en todos los lugares de moda de París, lo que los motivó a lanzar otro maxi-single con "Triptico/Last Tango in Paris," en junio 2000.
A partir de ese momento, el desenlace fue vertiginoso y el álbum no se hizo esperar.
"La revancha del Tango" fue elegido en 2002 como uno de los mejores discos del año por los críticos de la BBC, quienes al año siguiente dieron a Gotan Project el premio como "revelación Mundial"; llevan un millón de discos vendidos y más de 200 shows en Europa, Canadá, Estados Unidos, Australia, Japón y Brasil, en los que suman su experiencia cinematográfica, dando a estos un gran despliegue visual.
Eduardo Makaroff:
guitarra
Philippe Cohen-Solal:
DJ
Christoph Müllen:
electrónica
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B i o g r a p h y (by Official Site)
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. Müller, 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 Revancha...' 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 'Lunático'.
With a decidedly stronger emphasis on the more organic roots of tango, almost to a classical level, 'Lunático' 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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Temas
a1-gotan_project-differente.mp3
b1-gotan_project-domingo.mp3
Link:
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Gotan Project
Gotan Project irrumpió en la escena musical en 1999 con su innovadora mezcla de Tango y Música electrónica.
La fundación del Gotan Project se produjo 1999 cuando Müller y Cohen-Solal conocen al guitarrista y compositor Argentino Eduardo Makaroff, quien vivía en París desde 1990.
Este, que había comenzado su carrera musical en Argentina en los 80', junto a su hermano Sergio, con el Duo "Los Hermanos Makaroff", también estaba trabajando con música de películas y series de TV, mientras conducía la orquesta Club Tango de un sitio de moda en París llamado La Coupole.
El grupo lanzó su primer maxi-Single con 2 temas en enero del 2000 ("El capitalismo Foraneo/Vuelvo al sur").
Esto fue en pequeña escala, fabricando únicamente 1000 copias.
Los temas comenzaron a sonar en todos los lugares de moda de París, lo que los motivó a lanzar otro maxi-single con "Triptico/Last Tango in Paris," en junio 2000.
A partir de ese momento, el desenlace fue vertiginoso y el álbum no se hizo esperar.
"La revancha del Tango" fue elegido en 2002 como uno de los mejores discos del año por los críticos de la BBC, quienes al año siguiente dieron a Gotan Project el premio como "revelación Mundial"; llevan un millón de discos vendidos y más de 200 shows en Europa, Canadá, Estados Unidos, Australia, Japón y Brasil, en los que suman su experiencia cinematográfica, dando a estos un gran despliegue visual.
Eduardo Makaroff:
guitarra
Philippe Cohen-Solal:
DJ
Christoph Müllen:
electrónica
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B i o g r a p h y (by Official Site)
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. Müller, 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 Revancha...' 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 'Lunático'.
With a decidedly stronger emphasis on the more organic roots of tango, almost to a classical level, 'Lunático' 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."
------------
Temas
a1-gotan_project-differente.mp3
b1-gotan_project-domingo.mp3
Link:
-
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