You know that I'm a fan of dance music right? Well, there are a lot of different varieties out there. And Paulo Olarte Toro has tried his hand at most of them. Currently residing in Switzerland, the Columbian-born producer has sought to return to the source on his debut album Pase lo que pase by making a traditional Latin dance record that combines champeta, reggaeton, and other popular Caribbean styles.
Ok, maybe it's not "traditional" traditional, but it's traditional as far as the '90s go. And seeing as '95 was nearly 30 yards back according to the rear-view mirror, Paulo might as well be translating from ancient Sanskrit as far as some of these whipper-snapping zoomers are concerned (no offense kids).
Now, I don't mean to disparage Pase lo que pase at all by referencing the age of its inspirations. In fact, it is this admirable tracing of the past that makes the album so delightful. It's cool to be confronted with versions of reggaeton that had a fresh and tantalizing underground appeal at one time. I appreciate the way that Pase lo que pase demands a reckoning with the origins of many Caribian styles and reminds us that they had a history before becoming just another studio preset. Or even more ignobly, a bald neologism that ambitious, but clueless, producer types drop into conversation to convince you that what they're working on somehow how "exotic." This has unfortunately become reggaeton's fate as of late.*
Paulo's version of these sounds is very natural in contrast. This is because it is coming from a genuine place and the product of genuine love for the music of his youth. This unpretentious approach to making music that is both faithful and fun is extremely easy to embrace.
"Librame de Todo Mal" is definitely going on my playlist for this summer and the breezy, beachy synth rhythms of "Cumbía Fantasía" will whisk the sweat clean off your brow and replace it with a replenishing kiss of relief. "Mientras Unos Mueren" trades in an undeterred variety of body-propelling, rhythmic vacillation pumped up by a future-beat fascination that harkens back a period when causal space-exploration seemed only a decade or so off. And of course, I am hot for the Brazillian rhythms and highly judicious use of monkey drum on "Hoy No Morire." It's kind of everything I want out of a Latin dance record right now.
Getting the feel and pace of these tracks right, probably was not an easy task. But Paulo demonstrates a real dedication to the task on Pase lo que pase. And the proof of his dedication, and the fruition of his success, can be found, as well as felt, in the movement the album will inspire in your feet and in your hips, but most importantly, the stirring it will arouse within the well of your soul.
*Granted, this used to be worse 6 years ago, but I have bad enough PTSD from being pummeled by non-native Spanish speakers unnecessarily overemphasizing that rolled "r" that I still harbor some battered resentment.
