In comparing Tango 3.0 to its predecessor, the feeling is like that of having once enjoyed the wonderful raspberry flavours of a Clos Siguier with hints of black licorice and cocoa to now being served a less elegant, undemanding Vielle Fontaine Rouge. But the joie de vivre and funkiness of Lunatico’s rap song “Mi Confesion”, the melodramatic excesses of “Criminal”, and the stunning cinematic portrait of “Paris, Texas” are largely absent. The bandoneón aside, we have a return of the smoky, sultry vocals of Cristina Villalonga, strings, steel guitar, and sampled vocals and effects. To be sure, the ingredients of Le Revancha del Tango and Lunatico are no less present on Tango 3.0. Tango 3.0 takes this risk and comes off limp. decided to drop their bandoneón-driven milonga for krautrock or some such.) On the other hand, the risk of doing more of what you’re already good at inevitably invites disappointment if you’re not seen to be continuing the audacious boundary-shifting of earlier efforts. (Hence, I think, it was okay for MGMT to go prog-psychedelic on Congratulations, but it would be rather more disorienting, nay devastating, if Muller et al. Reproducing their past success in some form would seem most reasonable, as they’re an outfit whose schtick is rather more crucial to their identity in the eyes of their fans than, say, MGMT’s electro-pop is to theirs. Now four years on, the group have effectively set themselves a challenge comparable to overriding the blight of the sophomore slump. But even as it was daring, it was never inaccessible.
Muller, and Eduardo Makaroff in the main) seized the winning tango-meets-electronica formula of their 2001 debut Le Revancha del Tango, and with an avant-gardist’s mind, spun it into a juggernaut of vivid aural imagery and pulsating theatrics. Reason being that the Franco-Argentine trio (comprising Philippe Cohen Solal, Christoph H. On its release back in 2006, it assumed a repository of adjectives from critics, including “melodious”, “brave”, and “adventurous”. As far as the “difficult” second album curse goes, Gotan Project’s Lunatico quite thoroughly superseded expectations.
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