He names the music of Soweto in Johannesburg as a vector through which he came to better understand that of Latin America, and cites French no wave artist Lizzy Mercier Descloux’s 1984 anti-apartheid album Zulu Rock as his introduction to African musical traditions. “It all started when I realized that tango music was created by Africans,” Zaballa said in a recent interview. If that sounds like a lengthy project, it is. It was the first glimpse at his new album Atlantico, a paean to Latin America, the continent’s musical roots in Africa, and the fraught body of water in between. Here, he reached for a recent past: Buenos Aires in the 1990s and its working-class neighborhoods that cultivated cumbia villera, a synth-washed genre of social protest. When Zaballa released a modest two-song EP called Tall Juan Plays Cumbia in December, the usual adjectives no longer applied.
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The Buenos Aires-born singer made his way to Far Rockaway, Queens, where he honed his goofy brand of punk alongside former roommate Mac DeMarco and songwriter Juan Wauters (from whom “tall” distinguishes Zaballa).
On his 2017 debut Olden Goldies, Juan Zaballa introduced himself in 15 short songs as a rockabilly crooner raised on the Ramones-Iggy Pop doing an Elvis bit, maybe vice versa. Tall Juan is as tall ( about 6 feet 3 inches) as he is named Juan, and in his brief career, he has lovingly commanded the art of pastiche.
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