{"id":11578,"date":"2020-03-02T00:20:00","date_gmt":"2020-03-02T05:20:00","guid":{"rendered":"https:\/\/panm360.com\/?post_type=records&p=11578"},"modified":"2020-03-03T12:33:41","modified_gmt":"2020-03-03T17:33:41","slug":"el-gato-y-los-rumberos","status":"publish","type":"records","link":"https:\/\/panm360.com\/en\/records\/el-gato-y-los-rumberos\/","title":{"rendered":"El Gato y Los Rumberos EP"},"content":{"rendered":"\n

Quebec musician Boog\u00e1t built his rep on rap en espa\u00f1ol over Latin-American laptop beats, but the impression was always there that he chafed a bit at the limitations. It\u2019s thus pleasant, but not entirely surprising, that he\u2019d choose at some point to pull the plug and do a deeper dive into musical history. The teaser for this EP, the fidgety Gypsy-jazz jumper \u201cEl Gato Rumbero\u201d, signaled what was to come \u2013 an all-acoustic effort, light, bright, and vigorous, shamelessly flirting with outright kitsch as it rifles through outmoded sounds of yesteryear. It\u2019s not the disposable novelty it might have been in lesser hands. Boog\u00e1t\u2019s vocal delivery is earnest, evocative, and rigorously enunciated \u2013 rolling those Rs like a bullwhip \u2013 and one could say the same of the compositions here. The energy amps up to the penultimate track, the dangerously rambunctious \u201cLas Miradas No Mienten\u201d. Then the sad-eyed, solemn closer \u201c\u00a1Al Ratito, Catrina!\u201d arrives, almost lugubrious with its funereal trumpets. It\u2019s hardly a bummer, though, not with Natalia Telentso\u2019s stirring vocal takeover in its final third.<\/p>\n\n\n\n