For those who, ten years ago, predicted that Gotan’s success would be limited to coffee tables and catwalks, this live set comes with an ever elegant sting.  The group have passed the test of the scene in proving that acoustic instrumentation and electronic programming can come together in an utter spectacle and, above all,  stay faithful to the first demand of the tango amateurs of the days of la Guardia Vieja: dance, of course. And thus is the music of the proud Buenos Aires: it seems that the more Tango asserts itself as traditionalist, the more it opens itself up to the chambols of modernity, from Carlos Gardel to Anibal Troilo, from Astor Piazzola to Gotan Project.

It would, it must be said, be wrong to deny this crossbred electrotango its place in the tradition, seeing as the instrument which is today its emblem, le bandoneon, was invented in the latter part of the 19th century, significantly later than the birth of tango, and whatsmore, in remote Germany...

Philippe Cohen Solal, Eduardo Makaroff and Christoph H. Müller come from just about everywhere, and have understood for a long time that the best way to stay faithful to their roots is to use their feet; to advance, to travel or to dance. That’s why their tango, whilst undeniably new, makes a clean sweep of the past. And because like all cultivated musicians, they know that the term “revolution” means nothing but “the course of returning to the same place”.

They also know that the history of tango is inseparable from that of cinema, which has accompanied it from the beginning, and that bonnes images can bring everything to belle musique.

Their performance plays with sight and sound to express their art’s gift: memory
and anticipation interlaced. Between today and tomorrow, this performance makes
no choices - because desire, just like tango, is but the regret of the future.