Cumbia Siglo XXI

Álvarez took the discography of the Barranquilla independent label Machuca, active in the late 1970s and early 1980s, as his model, building a playlist of its records and using the songs as role models for the album's attitude. He singled out the group Cumbia Siglo XX as the most progressive on the label, and The Quietus described the record as a marriage of Kraftwerk and Machuca. Álvarez said he first discovered algorithmic synthesis when he studied composition, and that this album was where he finally fitted it to Colombian culture. He named Kraftwerk as the first to bring entirely machine-made music into pop.

The cover is by the Colombian artist Glenda Torrado, who lives in Mexico, and answers the sleeve of La Cumbiamba by 2000 Voltios on Machuca: the same blue and the same dancing girls, now nine of them, one on a phone, one smoking, one asleep. A painting on the wall shows the band dressed as Renaissance aristocrats. Titles such as Cumbia de la Igualdad, Cumbia Totalitaria and Cumbia de los Proletarios carry the album's themes, which Álvarez described as the absurd fight for freedom in the ideologies of the internet. He is credited as writer, producer and mixer, with mastering by Timothy Stollenwerk. It was issued on Bongo Joe as BJR054.