On Instagram, EL PLVYBXY (Gregorio Da Silva) plays the role of Buenos Aires bad-boy provocateur, but his music and interviews reveal a far more thoughtful mission: decolonizing Latin American dancefloors by reconnecting club culture with Indigenous and folk rhythms. His debut LP, Retrospective Frequencies—released on Mexico City’s Terminal—brings these dual identities together with new clarity.

Across 10 tracks, Da Silva refines his typically chaotic fusion of techno, cumbia, footwork, raptor house, and bass into something more focused and narrative-driven. The album’s secret engine is guaracha, a Cuban rhythm that’s morphed across Latin America; Da Silva electrifies it with modular synths, sub-bass, and distorted guitar, turning folk tradition into circuitry. While the record is billed as a single continuous arc, it plays more like a collection of short, self-contained stories.

The opener, “Asuntos Subacuaticos,” channels Drexciya’s aquatic mythos—lush, heavy, and atmospheric, but slow to catch fire. Energy returns on “Bump Por Bump,” a constantly mutating but tightly controlled stew of woodwinds, lasers, and breathy vocal chops. Collaborations expand the scope: “Los Cabures” (with ROOi) blends forest ambience with digital shimmer, while “Bohemio Del Sur” (with Imaabs) delivers frenetic rave heat and chopped jungle breaks. Both show Da Silva at his best—precise, wild, and irreverently hybrid.

Occasionally, his tendency toward slow-burn tension slips into stagnation. The title-track “Frecuencias Retrospectivas” builds and builds with no payoff—intentionally torturous, but not always satisfying. Relief arrives in “Venga,” a DJ-ready hard-house/raptor hybrid whose “venga, venga” chant drips with dancefloor sweat and sexuality.

The late-album highlights continue with “ParisBsas,” a festival-scale, euphoric blend of tribal percussion, rippling synths, Amen breaks, and winking Skrillex-style squelches. But the much-anticipated collab with raptor pioneer DJ Babatr, “Goze,” underdelivers—a massive build and a muted drop that feels conceptually clever but club-ineffective. As a closer, though, its anticlimax mirrors the intro’s watery sensuality and reframes the album’s thesis: dance music can seduce, provoke, and withhold.

Overall: Retrospective Frequencies is Da Silva’s most coherent statement yet—a high-concept, sonically adventurous LP that fuses folk memory, queer rave energy, and global underground futurism. Not every experiment lands, but the album’s ambition, precision, and stylistic breadth mark EL PLVYBXY as one of the most forward-thinking producers in contemporary Latin club music.