The Peronists appeared in Buenos Aires’ scene right around the same time of the Zizek parties and participated in all the ñu-cumbia compilations that ZZK Records put out since then. However, the project never achieved the level of international exposure of other members of the collective and never, to my knowledge, released a proper, official album outside Argentina.
A probable reason behind this is that the project don’t really fit into any Latin American electronic music scene; I wouldn’t even label it ñu-cumbia. The Peronists (like Perón, the politician, and his followers, the real peronists) are an anomaly– they’re their own species, and are rather difficult to understand from a foreign perspective.
Take Inka Techno, The Peronist’s new EP, as an example. It has such a mix of rhythms, cultures and references that some would call it too avant guard or even incoherent. There are elements from retro acid house, prog synths, aboriginal samples, a little bit of cumbia, explicit references to New Order, and of course, the words Inka and Techno in the title to confuse us even more.
But if trying to make sense out of that sounds like too much of a challenge, then try to explain the Peronist political doctrine to anybody raised outside Argentina–it makes no sense at all!
The Peronists, like Perón, can only be fully understood from within the Argentine heterogeneous musical landscape and Federico Randall, the intellectual leader behind this conspiracy, is not making any compromises to fit into any of the current global/tropical bass trends and hybrid subgenres. So, if anything, we should give him credit for accurately naming his project.