Mexican-American producer Delia Beatriz, known as Debit, has released her latest album, Desaceleradas, a project that reinterprets the cumbia rebajada genre. This style, which emerged in the 1990s, is characterized by its slowed-down tempo, transforming the typically upbeat cumbia into something more atmospheric and introspective. Building on the foundations laid by DJ Gabriel Dueñez, who popularized this sound through bootleg cassettes, Beatriz’s new work dives deep into the possibilities of this unique musical approach.
On Desaceleradas, Beatriz merges elements reminiscent of composer William Basinski and the chopped and screwed style of DJ Screw, creating an enticing blend of slow, ambient soundscapes. Tracks such as “La Ronda y el Sonidero” and “Vinilos Trasnacionales” retain traces of the cumbia shuffle but are transformed by Beatriz’s use of tape hiss and reverb. This results in a sound that evokes both nostalgia and unease, described as “nightmare fairground music” underlined by haunting drones.
The arrangement of tracks on the album pushes listeners to confront the inherent strangeness of contemporary life. For instance, “Bootlegs” features a single synth tone stretched into industrial distortion, while “Cholombia, MTY” showcases the dissonance created by a slow-motion melody. Los Balleza resonates with chaotic reverb, further emphasizing the album’s unsettling nature. Rather than serving as mere background music, Desaceleradas invites a deeper engagement with its complex sound, illustrating how slowness can evoke discomfort akin to chaotic noise.
Beatriz’s work is part of a broader movement, as other artists also explore innovative soundscapes. Alejandra Cárdenas, performing as Ale Hop, has released her debut album titled A Body Like a Home. This collection features candid spoken word poetry reflecting her experiences growing up during the dictatorship of Alberto Fujimori in Peru. With 13 tracks of autobiographical mood music, Cárdenas creates a compelling auditory experience that resonates with personal and historical significance.
Meanwhile, Nusantara Beat, an Amsterdam-based sextet, takes traditional Indonesian keroncong and infuses it with psychedelic elements in their self-titled debut album. Tracks such as “Ular Ular” and “Kalangkang” highlight their unique blend of synth funk and engaging guitar melodies, providing a vibrant listening experience.
Adding to the rhythmic landscape, percussionist and producer Sarathy Korwar presents his latest album, There Is Beauty, There Already. This 40-minute suite is a continuous exploration of drumming that draws listeners into a trance-like state. Korwar’s ability to weave together various influences, from free jazz to konnakol phrasing, showcases his deep understanding of rhythm and its transformative power.
In a time when music continues to evolve, artists like Beatriz, Cárdenas, Nusantara Beat, and Korwar exemplify the diverse sounds shaping the contemporary landscape. Their innovative approaches not only celebrate cultural heritage but also challenge listeners to engage with music on a deeper emotional level. As the global music scene expands, these artists remind us of the profound connections between sound, identity, and memory.
