Some really inventive pop-things come out of Argentina musically and this album is an intense spiny knot of Argentinean nu-cumbia, the directness of the Colombian punch affected by the slippy local sound, Alejandro Franov’s accordion sliding around very suavely and the Buenos Aires-born sometimes-cumbia musician Gaby Kerpel, aka King Coya, involved in every single song, helping to give the album some inspired and novel touches, like the lightly industrial bump ‘n’ grind of “Trocintro”, a mechanical bash integrating itself with the cumbia spasms. Both of those musicians have been around for a while. For La Yegros this is her debut. She comes newly minted from a tertiary institution of music and the press release seems to be struggling to find something real-world to say about her—she sang in front of a lot of people at a festival once, she really did, they swear—but the inexperience doesn’t show, she’s strong as vinegar, she’s tough, she’s raring to bounce forth and conquer. I wouldn’t mind hearing her on an album that gives her more chances for modulation.