Using the rich musical legacy of tango, Uruguay’s Bajofondo Tango Club found a ready audience when it released its eponymous 2002 debut. Songwriter and keyboardist Luciano Supervielle wanted to expand the group’s exploration on his own. Supervielle doesn’t break new ground, but it does make the foundation for electronically-enhanced tango-derived chillout harder to shake. Tracks like “Fandango,” “Tangodrome” and “Perfume” aren’t so much tango reinterpretations as opportunities to explore the sensual side of dance, creating an intimate circle just big enough for two within a large, body-sweat-scented dance floor. Calling his blend Uruguayan hip-hop, the keyboardist brings all his loves into the studio, including soccer (hear a thrilling winning goal announced on “Centrojá,” one of the album’s best cuts). “332,” the album’s closer, comes closest to hip-hop’s swagger: the beat, insouciant and hard to resist, buoys the lazy bass line and percussive piano line, making it hard to sit still through the midtempo onslaught. The bonus remix CD seems superfluous, but don’t miss out on work by the likes of London’s Omar (a London songwriter/singer/producer who deserves more recognition stateside) and others.