downturn in the career of neotango?

heretical comments to the last CD releases of the neotango protagonists Gotan Project and Otto Aires.

Was that the next major, musical step towards of the neotango - from Gotan Project programmatically proclaimed  as »Tango 3.0«?

With the two first CD´s Gotan Project followed up to tango by a European, Paris perspective and mixed contemporary, urban sounds with tango-affine arrangements. The result was an innovative vibrant, more vitally music-mix, which rose the tango like a phoenix from the cold ashes.
»Tango 3.0« lacks the dynamic, powerful and gloomy sound of »Lunatico« and »La Revancha del Tango« in total. There is specifically a lack of influences of HipHop, TripHop, Ambient and Rock - althoug in the  liveshows of their current tour we have been feeling this significant  ”power “of Elektrotango. 
The radical approach has been replaced by harmless vocal parts, musical saws, Countrysound, child choirs and somniferous beats in parts. The »recycling« of the football-theme of Bajofondos »Centroja« could be an indication that the compositional innovative strength has become exhausted.

Otto Aires presents a similar picture. The Tango of the Rio de La Plata forms the basis for their musical legacy. They flavored the traditional Tango Argentino with compositional components of the urban music culture by a respective Argentine point of view. impulsive beats, drumsets and soundsamples completed the musical repertoire of the band. 

On the actual available CD »Tricota« only »Tangwerk« - a reminiscence to the legendary German electro-formation Kraftwerk - was able to tie in this keen to experiment of »Otto Aires (Uno)« and »Dos«. The remaining titles only deserve to be classified as Tango Electronico because of the sparse use of a DrumComputers.