"We wanted to do something we really loved, with no compromise or thinking about selling to others, something which no-one was expecting to hear. "Eduardo made me discover the really percussive, groovy side of Argentinian music" Phillippe explains. Having recorded over a dozen best-selling albums at home, Makaroff has been just as prolific since he arrived in Paris in 1990, fronting the Tangomano group and conducting the orchestra at the Dancing de la Coupole club. "He's a legend" is how Phillippe sums up the Argentinian. Having spent the last 10 years working and collaborating with such film directors as Lars Von Trier, Jean-Baptiste Mondino and Nikita Yolande Zauberman, Phillippe Cohen Solal and close friend Christoph Mueller's first steps towards the Gotan Project began when they met Eduardo Makaroff. The French capital is where this story begins. Many arrived in cities like Paris, bringing their bandonions and a love for the bittersweet tango with them. When real politics intervened in the late 1970s and the right-wing military junta began to make life for maverick musicians a little difficult, many fled, seeking safe European homes.
Viewed as a craze, like the twist, when it first reached European shores, it retained quite a different meaning when danced in its native land. A music loaded with potency and poignancy, it was the soundtrack for Argentina's unique politics of dancing for decades. The tango's positioning as an additive in modern dance anthems is a long way from its birthplace in the barrios of Buenes Aires. Leading DJs with open ears have already fallen for it while the Gotans' nascent live career has begun to show signs of real promise and potential boom. Without it, the swirling, intoxicating, dramatic pulse of their dΘbut album, La Revancha Del Tango, would not have the same allure. The Gotan Project's bewitching mix of graceful tango melodies and electronic dance rhythms places the accordion - or the bandonion, to be exact - in the heart of the mix.
But without the accordion, we wouldn't have our sound." "Believe me, we never set out to do that, it's just the way it happened. It has just been suggested to him that he and his Gotan Project cohorts have done the impossible: they have rehabilitated the accordion as an instrument of choice.
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