Corpus Christi, TX-based producer, DJ and electronic music artist, Horacio Olivera, best known as  El Dusty has a long-held reputation as the pioneer of a revolutionary, new subgenre that he’s dubbed “nu-cumbia” as it possesses elements of  contemporary electronic music production with chopped up samples from classic and traditional Latin music, hip-hop, electro pop and other genres resulting in a trippy and club-banging take on the sounds near the border. Now, over the past few months, the Corpus Christi-based producer, DJ and electronic music has quickly become a JOVM mainstay as I’ve written about “Cumbia Anthem,” a club-banging collaboration with Dominican twerk production Happy Colors that featured woofer and tweeter rattling 808s, tons of trap-inspired snare drum, and a glitchy and incredibly chopped up sample from Colombian cumbia star Andrés Landero’s “Bailando Cumbia.” Although incredibly modern, it the track retains the sound and feel of a classic cumbia song – while being incredibly anthemic.’Orale,” the second single I wrote about was a slickly produced trap song with woofer and tweeter rattling bass, hard-hitting drums, stuttering drum programming, staccato synth stabs, airhorns and twinkling electronics that’s not just a marvel of modern production, it’s a song that possess an enormous, crowd rocking sound that’s both club and festival-friendly. Olivera’s third single “We Out Chea” continued his collaboration with Happy Colors — and much like “Cumbia Anthem,” the track pairs tweeter and woofer rocking 808s with a chopped up cumbia sample with MLKMN‘s swaggering, Dirty South meets trap music flow in a song that possessed elements of contemporary hip-hop, drum ‘n’ bass, trap house, cumbia and techno in a mischievous and adventurous fashion.

“Cinco De Mayo,” the Corpus Christi, TX-based producer, DJ and electronic music artist’s latest single, a collaboration with Los Dutis and Morenito De Fuego will continue Olivera’s burgeoning reputation for crafting swaggering and anthemic electronic music consisting of enormous, tweeter and woofer rocking beats, stuttering and chopped up samples, layers of shimmering synths, a vocal sample fed through layers of distortion and vocoder and various bloops, bleeps and beeps. Just from the four or so releases I’ve come across this year, Olivera has quickly made a name for himself as one of the most exciting and innovative producers and artists in contemporary electronic music.