Mariana Martin Capriles is a Venezuelan-born, Brooklyn-based singer/songwriter, video artist and designer who has developed a reputation as a multimedia artist, with her MPeach project, which naturally combines her interest in music, video art installations and the like. With the release of her solo debut album, Malania, Capriles’ multimedia project draws influences from Latin America, the Caribbean, North America and Europe — and with Malania, the audio portion of the multimedia experience, Capriles’ sound meshes pulsing beats, low end bass and modern electronic music production techniques with rhythms rooted in traditional Venezuelan music to create a subgenre that Capriles has dubbed Latino del Futuro. Interestingly, the concept reminds me quite a bit of Rene Lopez‘s E.L.S. as Lopez meshed boogaloo, hip-hop, salsa and electronic music in a similar, mischievous, genre-hopping/genre-mashing fashion.
“Latina del Futuro,” the latest single off Malania meshes the sort of cascading shimmering synths that are reminiscent of Daft Punk‘s “One More Time” and Kraftwerk‘s “Tour De France” and pop paired with the rolling and tumbling beats reminiscent of cumbia, soca and reggaeton and lyrics sung in English and Spanish to craft a club-friendly, sound that’s futuristic yet familiar and dimly alien — all while being accessible and danceable. It’s also a sound only possible in a globalized world in which ideas and sounds are constantly exchanged, clashing and meshing sometimes seamlessly and occasionally mischievously; in some way, it sounds like the sounds of the streets of Corona, East Elmhurst, Spanish Harlem, South Williamsburg and others.
The official video for “Latina del Futuro features Capriles cavorting on the beach in an outfits that look like they’re from some catwalk in the very near future.