Electronica might be a strain of a destiny though for a Peruvian twin Dengue Dengue Dengue, it is also a gateway to a past.
The organisation has built a fan following abroad, generally on a bar and festival circuit in Europe, with a character dubbed as pleasant futurism that merges electronic beats with Latin cumbia dance music.
For a Lima-based band’s latest album, Dengue Dengue Dengue has changed subtly divided from a pulsating sounds of cumbia and deeper into a African roots of a genre.
The album, that comes out on Jun 24, is entitled “Siete Raices,” or “Seven Roots,” a name of a absolute splash from a Peruvian jungle that is pronounced to be an aphrodisiac.
But a imagery could also be a embellishment for a artistic proceed of Dengue Dengue Dengue, that is fervent to excavate into a different racial brew and low-pitched birthright of Peru.
Tracks such as “La Rama de Tamarindo” (“The Tamarind Tree”) and “Murdah” open as explorations of normal Afro-Peruvian percussion and vocals before thumping electronic drum and beats flog in.
Other marks move in a Afro-Peruvian change some-more gently, formulating a musky and visionary atmosphere as a twin rejects any idea that electronic strain needs to be danceable.
The album’s initial single, “Guarida” (“Lair”), is a steady-paced course of understated rhythms and humming joined with a unhappy voice of Madrid-based thespian Sara Van.
The strain is accompanied by a video that brings together futurism and a birthright of Afro-Peruvians, one of a country’s slightest discussed minorities whose numbers change widely in estimates.
In a video, archeologists — led by a tiny thatched-headed quadruped with a flashlight for an eye — are seen exploring an Afro-Peruvian home where portraits hang on a wall of artists including Dengue Dengue Dengue.
The archeologists afterwards transport by time and dirt off a bare-bosomed deity who breaks out of a dirt and shifts gracefully to a rhythm.
Bringing ‘smell and flavor’ to concerts?
The visible member is pivotal to Dengue Dengue Dengue who perform wearing masks, mostly colorful abstractions desirous by African traditions.
“The strain is really a guideline from where all develops, though we take as most caring and loyalty to a visuals, masks and video clips as we do to a music,” twin member Rafael Periera told AFP.
“The usually consistent in a plan is change, and we request this into all a aspects of what we do. At some indicate in time we would like to even supplement smell and season to a shows,” he said.
Dengue Dengue Dengue — whose name comes from internal jargon for expectation of a celebration and not from dengue heat — is a singular Peruvian act in new years to have won a following, even if niche, outward of a Spanish-speaking world.
The duo’s early works partly offering a reconstruction of chicha, a unusual stone with roots in cumbia that emerged in Peru in a late 1960s and took on a new life in New York and London.
Dengue Dengue Dengue’s arise comes amid a mountainous recognition of electronic strain — not only in dance clubs though increasingly in some-more heterogeneous circles.
“Siete Raices” is a second manuscript by Dengue Dengue Dengue expelled on Enchufada, a Portuguese tag dependent with Buraka Som Sistema, a successful Lisbon common that has infused electronica with African influences.
Dengue Dengue Dengue member Felipe Salmon pronounced that a twin felt generally during home in Europe, where a seductiveness in electronic strain authorised plenty room for experimentation.
“There is really a wider spectrum of styles worldwide than 10 years ago, and a assembly is some-more open to new things from abroad,” he said.