Little Beat More 35 by Conjunto Media Luna Follow, La Terrorista del Sabor Follow, Turbo Sonidero Follow

Little Beat More 35 review

Conjunto Media Luna presents two new tracks that bring together different geographies, collaborators, and histories of cumbia. “Kumbia dos Pasitos,” in collaboration with Turbo Sonidero, and “No es Moda,” alongside La Terrorista del Sabor, are released jointly on 7” vinyl by Little Beat More and on digital platforms through In-correcto. The cover design is by Bogotá-based artist Mateo Rivano, whose work has defined the visual identity of several influential projects in Colombian alternative music.
“Kumbia dos Pasitos” is a dialogue between Bogotá and San José, California, weaving accordion traditions from the Montes de María with drum machines, samples, and codes of street cumbia. It follows the path of a genre that has circulated for decades, crossing borders and creating communities from Monterrey to Buenos Aires, Los Angeles, and Bogotá. Turbo Sonidero, co-founder of the Kumbia Net collective, has been central in this process, shaping new approaches to digital cumbia and linking sonidero culture with hip-hop, electronic music, and slowed-down bass.
“No es Moda” takes a different angle. It rejects the idea of cumbia as a trend and situates it instead as continuity and resistance. La Terrorista del Sabor’s voice cuts through the track with urgency, connecting to the tradition of dark cumbia that has grown between Mexico and the U.S. Southwest, in dialogue with figures such as Amantes del Futuro, Turbo Sonidero, and the wider Kumbia Net network.
Together, the two tracks reflect on dance as a shared space: from sonidero dances in Mexico to raves and underground gatherings across the globe. They also introduce SIK (Sociedad Internacional de la Kumbia), Conjunto Media Luna’s forthcoming album, which traces a decade of exploration between accordion, machine, and bass, and highlights the scenes that continue to expand cumbia from the margins.
The cover art, created by Mateo Rivano, places the Tunjo, a pre-Columbian symbol of the Muisca culture. This is no accident. The image bridges the mythic aura of Colombia’s Salto del Tequendama with Mexico’s sonidero world and its iconic Tequendama de Oro Awards. Yet “No es Moda” travels far beyond: from San José, California to Buenos Aires, from Rotterdam to Warsaw to Tokyo, the track maps a global community operating from the margins. A community that sees cumbia, and its sonic mutations, as a vehicle of resistance, and the dancefloor as a battlefield, regardless of geography or nationalities.