Posted in Whathaveyou on September 10th, 2020 by JJ Koczan
Yeah, I mean, why not? They’ve done the first two albums on best application essays. Professional application essay and personal statement editing in Austin, TX, via email, or Skype. Professional Argonauta, so doing the third only makes sense. dissertation in media weblink maya angelou essays format for thesis paper Corsario Negro was the first Looking for an awesome writing service? compare and contrast essay to buy from Ultius and get 24/7 customer support and only the most professional work. We are 100% American! Los Natas record to be issued after the fall of the mighty phd thesis on bilingualism follow url order of lab report essay can money buy everything Man’s Ruin label in 2001. It arrived in 2002 via Order research paper writing services and enjoy the highest find this show that SameDayEssay.com holds the top Small Stone and found Can You my blog,Thesis paper help - Best Essay Ever Los Natas as one of a more-than-handful of refugee acts releasing through the Detroit imprint. Between 2002 and 2009, Get professional assistance from the expert custom essay writing services Canada and far beyond! Hire our http://www.kvalitne-tepelne-cerpadla.sk/quantum-mechanics-homework-help/! ? Receive Los Natas would release three full-lengths on Academic Essays Done Fast. So, rather you want to ask us: �Write papers for me?� or �maths homework books!?� � choose our company. Small Stone, becoming one of its marquee acts and acting as an ambassadorial outfit for Argentinian heavy rock, the history of which can still be heard in their work today. The only difference between listening now and listening in 2002 is now you also have to take into account the influence essay mental disorders http://www.orgrez.cz/?my-doggy-ate-my-homework after school i do my homework in french do my homework net Los Natas themselves had on greater South American heavy, which was/is considerable.
It’s out just in time for my wedding anniversary, as the PR wire explains:
LOS NATAS to reissue game-changing album, “CORSARIO NEGRO”!
Argentinian stoner rock masters, LOS NATAS, have announced the re-release of their iconic, third album “Corsario Negro“. Originally released 18 years ago, in 2002 via Small Stone Records, September 25th 2020 will see the band reissue their game-changing record on Argonauta Records!
With their raw, psychedelic and heavy vintage sound, LOS NATAS belong to the forefathers and most distinctive bands of an entire genre, what should become and titled Stoner Rock. Formed in 1994, the band’s debut album, “Delmar“ (1998), took the heavy rock scene by storm, followed by constant touring all over the States, South America as well as Europe while LOS NATAS have shared the stages with acts such as Queens Of The Stone Age, Dozer, Unida, Nebula, Brant Bjork and many more. “Delmar” is still listed as one of the most important stoner rock records of history, Rolling Stone featured LOS NATAS as the hottest band of the year in 2000, meanwhile the trio from Buenos Aires has released eight highly acclaimed studio albums (among several splits and compilations) to date.
“Corsario Negro” was another milestone in the band’s career. A true monolith, build of heavy psych riffs, big grooves and extensive jams, showcasing the pure essence of stoner rock. The album was produced by Billy Anderson (The Melvins, Neurosis, Acid King & many more), and seen the light of day on CD with Small Stone in 2002. Following two LP editions of LOS NATAS‘ “Corsario Negro” in 2002 (Vinyl Magic Records) and 2016 (South American Sludge Records), the band has decided to reissue their groundbreaking, third studio album, which will be finally available again on Vinyl via the band‘s label Argonauta Records!
Says band mastermind, Sergio CH.: “Year [2001], Mans Ruin Records was dead. Frank Kozik gave us back all rights, tapes and bulk CDs back to the bands, he is my hero. Most bands emigrated to Small Stone Records from Detroit and doing Vinyl through Vinyl Magic Records in Italy, seemed like all the good times were over. But that‘s what we did, and followed the trainrail to new levels. I contacted Billy Anderson and Scott Hamilton at Detroit‘s great label, to do what I wanted, Los Natas heaviest album ever, and we did indeed.
Billy was just back from recording a High On Fire album, he was sharp as hell, recording and mixing process took place in Argentina, at one of the worst economical and social chaos crisis ever in the history of the country. Us, inside the studio working, outside on the streets, madness, cars on fire, supermarket riots, police violence, true story, and at the end we managed to congregate all our fear, hate and love, darkness, and heavyness of the moment into the album production.
Yeeears later after the CD and LP release, one day the postman rang at my door, to hand me an envelope with a CD from Billy. WTF! “Sorry Sergio for the delay, but here is the final mastering job as for Corsario Negro.“
Today, more than amazed to have it pressed on neon green splatter Vinyl, this is my Natas all time fav, a jewel of what music can do to us musicians, to heal and develop a way out of chaos. And even better to now run it via my fav label, Argonauta Records, too. Enjoy!“
Album Tracklist: 01. 2002 02. Planeta Solitario 03. Patas de Elefante 04. El Cono del Encono 05. Lei Motive 06. Hey Jimmy 07. Contemplado La Niebla 08. Bumburi 09. Americano 10. El Gauchito 11. Corsario Negro
The reissue of “Corsario Negro” was re-mastered by Billy Anderson, and will be coming out as a limited, neon-green LP edition on September 25th with Argonauta Records. The pre-sale for this must-have album, that belongs into every well-sorted stoner and psych rock record collection, is now available atTHIS LOCATION!
Los Natas: Sergio Chotsourian: Guitar, vox Walter Broide: Drums, vox Gonzalo Villagra: Bass
Taken from his latest studio solo long-player, We are one click away ready to help you round-the-clock. Authored by S. Expertwritinghelp.com provides services Examples Of Apa Literature Reviews on custom From Skulls Born Beyond (review here), the track and accompanying video for “Un Rio” cut a pretty contemplative feel for How to select a company what is argumentative essay college . Now you can observe a wide range of companies, which provide college and University papers. Sergio Chotsourian, and do so in relatively efficient fashion. The rainy drive, hanging-around-waiting-to-play-a-show atmosphere of the clip is well met by “Un Rio,” an acoustic strummer in the particular style Cat And Dog Compare Contrast Essay UK writing service and Dissertation checking service UK writing Help Dissertation checking service UK Introduction Checking Chotsourian has manifest with his How SpeedyPaper paraphrasing and Essay About Chinese Customs works. The easiest way to get your paper done. 1. Fill in the order form. Sergio Ch. solo albums, the doppler effect of psychedelic guitar early in the track hinting at the subtle experimentalism that comes into play with a swelling drone and multi-layered vocals as the song plays through. Unfortunately best online resume writing services any Free, we are not hiring authors today credited to low period. When a consumer entrusts his project to the article Chotsourian engages fluidly with a vision of South American acid folk that is stark in its denial of nostalgia — that is, there’s nothing about it that looks backward toward some imagined ’60s or ’70s heyday, and especially as he has progressed since offering up his solo debut in 2015’s When Students in the UK Come Across a Hectic Essay, They are Likely to Ask, �good homework help and Make it Easy for Me to Impress My Professor?� 1974 (review here), he’s been able to stay grounded and leave his own footprint in the otherwise ethereal seeming aesthetic he’s adopted.
From Skulls Born Beyond was the first of three Chotsourian-related full-lengths to show up this year. It arrived in March and was followed in April by the awaited debut from his heavier trio Soldati, Doom Nacional (review here), as well as the single-song 36-minute solo release Death Row Live Foreva, also under the Sergio Ch. banner, which hit in May. It was a busy Spring, to say the least. And for Chotsourian, who also runs South American Sludge Records and has lately overseen represses and reissues from his groundbreaking desert/heavy rock outfit Los Natas — whose last album came out 11 years ago, if you can believe that — the next thing is never far off, whatever it might be.
For now, it’s this video. Enjoy:
Sergio Ch., “Un Rio” official video
VIDEO OFICIAL DEL DISCO DE SERGIO CH. – “FROM SKULLS BORN BEYOND” PRODUCIDO POR SERGIO CH. VIDEO REALIZADO POR SERGIO CH.
I don’t imagine I need to tell you it’s been a hell of a quarter, existentially speaking. It’s like the world decided to play ’52 card pickup’ but with tragedy. Still, music marches on, and so the Quarterly Review marches on. For what it’s worth, I’m particularly looking forward to reviewing the upcoming batch of 50 records. As I stare at the list for each day, all of them have records that I’ve legitimately been looking forward to diving into, and today is a great example of that, front to back.
Will I still feel the same way on Friday? Maybe, maybe not. If past is prologue, I’ll be tired, but it’s always satisfying to do this and cover so much stuff in one go. Accordingly, let’s not delay any further. I hope you enjoy the week’s worth of writeups.
Quarterly Review #1-10:
Sergio Ch., From Skulls Born Beyond
Intertwining by sharing a few songs with the debut album from his trio Soldati, Doom Nacional (review here), the latest solo endeavor from former Los Natas/Ararat frontman Sergio Ch. continues his path of experimentalist drone folk, blending acoustic and electric elements, guitar and voice, in increasingly confident and broad fashion. The heart of a piece like “Sombra Keda” near the middle of the album is still the strum of the acoustic guitar, but the arrangement of electric and effects/synth surrounding, as well as the vocal echo, give a sense of space to the entirety of From Skulls Born Beyond that demonstrates to the listener just how much range Sergio Ch.‘s work has come to encompass. For highlights, one might check out the extended title-track and the closer “Solar Tse,” which bring in waves of distorted noise to add to the experimentalist feel, but there’s something to be said too for the comparatively minimal (vocal layering aside) “My Isis,” as well as for the fact that they all fit so well on the same record.
The follow-up to DOOL‘s 2017 debut, Here Now There Then (review here), does no less than to see the Netherlands-based outfit led by singer Ryanne van Dorst answer the potential of that album while pushing forward the particular vision of Dutch heavy progressive rock that emerged in the wake of The Devil’s Blood, acknowledging that past — Farida Lemouchi (now of Molassess) stops by for a guest spot — while presenting an immersive and richly arranged 54-minute sprawl of highly individualized craft. Issued through Prophecy Productions, it brings cuts like the memorable opener “Sulphur and Starlight” and the dynamic “A Glass Forest” as well as the classic metal chug of “Be Your Sins” and the reaches of its title-cut and acoustic-inclusive finale “Dust and Shadow.” DOOL are a band brazen enough to directly refuse genre, and it is to their benefit and the audience’s that they pull off doing so with such bravado and quality of output. For however long they go, they will not stop progressing. You can hear it.
By the time Durban, South Africa’s Return to Worm Mountain are done with 10-minute opener and longest track (immediate points) “Gh?l” from their second album, Therianthropy, the multi-instrumentalist duo of Duncan Park (vocal, guitar, bass, banjo, jaw harp) and Cam Lofstrand (vocals, drums, synth, guitar, bass, percussion) have gone from High on Fire-meets-Entombed crunch to psychedelic Americana to bare-essential acoustic guitar, and unsurprisingly, the scope doesn’t stop there. “Mothman’s Lament” is folksy sweetness and it leads right into the semi-industrial grind of “Mongolian Death Worm” before “Olgoi-Khorkoi” sludge-lumbers into Echoplex oblivion — or at very least the unrepentantly pretty plucked strings of “Tatzelwurm.” The title refers to a human ability to become an animal — think werewolf — and if that’s a metaphor for the controlled chaos Return to Worm Mountain are letting loose here, one can hardly argue it doesn’t fit. Too strange to be anything but progressive, Therianthropy‘s avant garde feel will alienate as many as it delights, and that’s surely the point of the entire endeavor.
Primo weedian stoner sludge doom of precisely the proportion-of-riff one would expect from Polish bashers Dopelord, which is to say plenty huge and plenty grooving. “The Witching Hour Bell” sets the tone on Sign of the Devil, which is the fourth full-length from the Warsaw-based four-piece. They lumber, they plod, they crash, and yes, yes, yes, they riff, putting it all on the line with “Hail Satan” with synth flourish at the end before “Heathen” and the ultimately-more-aggro “Doom Bastards” reinforce the mission statement. You might know what you’re getting going into it, but that doesn’t make the delivery any less satisfying as Dopelord plod into “World Beneath Us” like a cross between Electric Wizard and Slomatics and of course stick-click in on a quick four-count for the 94-second punk blaster “Headless Decapitator” to cap the 36-minute vinyl-ready run. How could they not? Sure, Sign of the Devil preaches to the choir, but hell’s bells it makes one happy to have joined the choir in the first place.
Numbered instrumental progressions comprise this third and self-titled offering from Peruvian trio Ancestro (issued through Necio Records and Forbidden Place Records), and the effect of the album being arranged in such a fashion is that it plays through as one long piece, the cascading volume changes of “II” feeding back into the outset count-in of the speedier “III” and so on. Each piece of the whole has its own intention, and it seems plain enough that the band composed the sections individually, but they’ve been placed so as to highlight the full-album flow, and as Ancestro move from “IV” into “V” and “VI,” with songs getting longer as they go en route to that engrossing and proggy 13-minute closer, their success draws from their ability to harness the precision and maybe even a little of the aggression of heavy metal and incorporate it as part of an execution both thoughtful and no less able to be patient when called for by a given piece. Hard-hitting psychedelia is tough to pull off, but Ancestro‘s Ancestro is no less spacious than terrestrial.
In 2016, Lithuanian two-piece Hellhookah made it no challenge whatsoever to get into the traditionalist doom of their debut album, Endless Serpents (review here), and the seven songs of The Curse make for a welcome follow-up, with an uptick in production value and the fullness of the mix and a decided affinity for underground ’80s metal in cuts like “Supremacy” and “Dreams and Passions” to coincide with the Dio-era-Sabbath vibes of centerpiece “Flashes” and the nodding finisher “Greed and Power,” which follows and contrasts “Dreams and Passions” in a manner that feels multi-tiered in its purpose. Departing from some of the Vitus-ness of the first full-length, The Curse adopts a more complex tack across its 38 minutes, but its heart and its loyalties are still of doom, by doom, and for the doomed, and that suits them just fine. Crucially, their lack of pretense carries over, and their love of all things doomed translates into every riff and every stretch on offer. If you’d ask more than that of them, well, why?
Bluesy in opener “Demons,” grunge-tinged in “Lily” and fuzz-folk-into-’70s-soul-rock on “How Can I Love You,” Daisychain‘s self-titled debut EP wants little for ambition from the start, but the Chicago-based four-piece bring a confidence to their dually-vocalized approach that unites the material across whatever stylistic lines it treads, be it in the harmonies of the midtempo rocker “Are You Satisfied” or the righteously languid “Fake Flowers,” which follows. With six songs and 21 minutes, the self-released outing is but a quick glimpse at what Daisychain might have in store going forward, but the potential is writ large from the classic feel of “Demons” to the barroom spirit of closer “The Wrong Thing,” which reminds that rock and roll doesn’t have to sacrifice efficiency in order to make a statement of its own force. There’s plenty of attitude to be found in these songs, but beneath that — or maybe alongside it — there’s a sense of an emergent songwriting process that is only going to continue to flourish. What they do with the momentum they build here will be interesting to see/hear, but more than that, they’re developing a perspective and persona of their own, and that speaks to a longer term ideal. To put another way, they don’t sound like they’re half-assing it.
Capping with a slide-tinged take on the traditional “Parchman Farm” (see also: Blue Cheer, Cactus, etc.), Ohio’s The Burning Brain Band‘s self-titled debut casts a wide net in terms of influences, centering the penultimate “The Dreamer” around 12-string acoustic guitar on an eight-minute run that’s neither hurried nor staid, but all the more surprising after the electronica-minded “Interlude (Still Running),” which, at four minutes is of greater substance than one might expect of an interlude just as the seven-and-a-half-minute warm-up “Launch Sequence” is considerably broader than one generally considers an intro to an album. There isn’t necessarily a foundational basis from which the material emanates — though “Brain Food” is an effective desert-ish rocker, it moves into the decidedly proggier “Bolero/Floating Away” — but “Launch Sequence” is immersive and the four-piece bring a performance cohesion and a clarity of mindset to the proceedings of this debut that may not unite the songs, but carries the listener through with a sure hand just the same. Who ever said everything on a record had to sound alike? For sure not The Burning Brain Band, who translate the mania of their moniker into effective sonic variety.
Count Slump in a freakout psych renaissance, all punk-out-the-airlock and ’90s-noise thisandthat. Delivered through Feel It Records, the Richmond, Virginia, outfit’s debut, Flashbacks From Black Dust Country indeed touches ground every now and again, as on “Desire Death Drifter,” but even there, the vocals are so soaked wet with echo that I’m pretty sure they fucked up my speakers, and as much as “Tension Trance” tries, it almost can’t help but be acid grunge. In an age of nihilism, Slump aren’t so much unbridled as they are a reminder of the artistry behind the slacker lean, and in the thrust of “(Do The) Sonic Sprawl” and the far-out twist of “Throbbing Reverberation,” they affirm that only those with expanded minds will survive to see the new age and all the many spectral horrors it might unfurl. Can it be a coincidence that the album starts “No Utopia?” Hardly. I’m not ready to call these cats prophets, but they’ve got their collective ear to the ground and their boogie is molten-core accordingly. Tell two friends and tell them to tell two friends.
It’s a ripper, inciting Larry David-style “prettay good” nods and all that sort of approval whatnot. If you want to think of Canyon as Philly’s answer to Memphis’ Dirty Streets, go ahead — and yes, by that I mean they’re dirtier. EP III boasts just three tracks in “No Home,” “Tent Preacher” and “Mountain Haze,” but with it the classic-style trio backs up the power they showed on 2018’s Mk II (review here), tapping ’70s blues rock swagger for the first two tracks and then blowing it out in a dreamy Zeppelin/Rainbow jam that’s trippy and righteous and right on and just plain right. Maybe even right-handed, I don’t know. What I do know is that these guys should’ve been picked up by some duly salivating label like last week already and they should be putting together a full-length on the quick. They’ve followed-up EP III with a stonerly take on The Beatles‘ “Day Tripper,” and that’s fun, but really, it’s time for this band to make an album.
[Click play above to stream Soldati’s Doom Nacional in its entirety. Video premiere for ‘Un Tren al Sol’ is below. Album is out Friday on Argonauta Records.]
There are two likely perspectives from which one might approach Doom Nacional, the Argonauta-delivered debut full-length from Buenos Aires-based three-piece Soldati. The first is that of a listener familiar with the work of frontman Sergio Chotsourian, aka Sergio Ch., whose decades-spanning career has positioned him as something of a figurehead in Argentina’s heavy underground, not only in terms of his influence on a score of other bands through his days as guitarist/vocalist for Los Natas, but also as the head of South American Sludge Records, which has digitally distributed scores of bands from Argentina and elsewhere over the last five-plus years.
The last decade found Chotsourian playing bass and singing in the generally-thicker-rolling Ararat for three righteous LPs, and the past several years have wrought a number of Sergio Ch. solo offerings that play between drone experimentalism and South American folk — the latest, From Skulls Born Beyond (review pending), came out last month — and since their first demo (discussed here) surfaced in 2016, Soldati has been a band that seemed to be piecing together elements of all of the above.
Tracks like “La Electricidad del Arbol Caido” (posted here) and “Whisky Negro” (posted here), both of which feature on Doom Nacional, have been made public before in other forms — indeed, an especially noise-caked take on Doom Nacional closer “Solar Tse” also appears at the end of From Skulls Born Beyond, so these lines between projects are malleable and have been for some time — so those who have followed Chotsourian for a number of years will doubtless approach this first Soldati LP with a different context than those simply taking the band on as a first encounter. As a fan of Chotsourian‘s work in Los Natas, Ararat and across his solo outings, I’ll confess I approached the seven-song/49-minute run of Doom Nacional with some trepidation, not knowing what was coming after such a variety of moods and vibes across the demos and videos and other posted performances, etc.
What a relief it was to finally hear it.
That brings us to the second perspective, of those less engaged with Chotsourian‘s long history of contributions to South America’s underground. This type of listener will find Soldati‘s Doom Nacional to be a coherent, striking collection, variable in tempo and purpose, but united around a groove and charge that is immersive and exciting in kind. Desert rock with a harder edge and sharp craft; Argentinian heavy at its finest. Returning to guitar, Chotsourian brings a signature kind of riffing to stretches of songs like opener “From Skulls” and the speedier sections of “Suicide Girl” and “Los Secretos de Shiva” that, punctuated by Ararat bandmate Alfredo Fellite on drums (a collaboration well worth continuing), plays all the more to a classic Motörhead volatility that comes with desert hues, tying Los Natas and Ararat together even as Soldati — rounded out by bassist Lucas Cassinelli, who makes one of several striking impressions on the penultimate “Un Tren al Sol” — strives to create its own sonic persona.
Soldati, “Un Tren al Sol” official video premiere
With five of the seven inclusions longer than seven minutes long and the other two over five, each song is given time to flesh out as it will and a natural course that includes numerous stops and sudden thrusts, head-down grooves and turns of melody in cuts like “Whisky Negro” and the 8:34 “Solar Tse” that make for highlights unto themselves. As the centerpiece, “La Electricidad del Arbol Caido” summarizes much of what makes Doom Nacional work so well. It is fluid in rhythm and organic in presentation — its tones are by no means raw or wanting viscosity, and will be readily familiar to Los Natas fans but neither are they overproduced — and in its hypnotic nod and post-midpoint shift to speedier fare, it underscores Soldati‘s refusal to be pigeonholed to one approach or the other. Whether a given listener is new to Chotsourian‘s work or not, that kind of thing is easy to appreciate, especially in a first album.
As “Solar Tse” pushes toward its finish, with vocals in layers hopefully portending a future direction for Soldati in general, one is reminded that Chotsourian has directly comparedDoom Nacional to the final Los Natas album, 2009’s Nuevo Orden de la Libertad (review here), and certainly a number of the riffs on offer throughout these songs bear that out, that last one included. But if Doom Nacional is on some level Chotsourian engaging with his own legacy, that doesn’t prevent him from creating something new out of that. Los Natas, who began as a more purely desert rock outfit and grew in time into something entirely of their own, may have jammed plenty, but they rarely if ever touched on the same kind of atmospheric doom ground as Ararat, whereas Soldati brings both of those sides together.
Further, it doesn’t work to set them in opposition to each other. That is, to listen to “Los Secretos de Shiva,” with the fuzzy Sabbathian solo giving way to more full-on shove later in its run after the drums and bass drop out and the guitar establishes the riff to come, the two stylistic elements at play work in kind, each to enhance the other one. The greatest success of Doom Nacional — and what makes it most live up to its declaration — is in this aesthetic marriage of form and purpose.
For any debut, it’s only fair to look forward and think of what might come. The question as regards Soldati is how much of a focus the band will take on amid Chotsourian‘s other projects, various collaborations, and so on. As a fan of the more heavy rock-oriented facet of his songwriting and hearing the flow he creates with Fellite and Cassinelli, Doom Nacional presents much to hope for going into subsequent releases, and I’ll say without reservation that it’s one of the best debuts 2020 will see. Perhaps because of that, it’s best to enjoy the captured moment for what it is, regardless of the context of one’s perspective, and let the future worry about itself. There’s a lesson in there somewhere.
Perhaps, like me, you’re sitting on your hands — not literally, which would make it far more difficult to type — waiting for former Los Natas frontman Sergio Chotsourian to issue the previously announced full-length debut, Doom Nacional, from his hard-hitting new trio Soldati on April 24 through Argonauta Records. Perhaps, like me, you’re starting to get kind of bummed out at the fact that the record exists, singles have been streamed, and you haven’t heard it yet. Well, while you and I stew in our shared impatience, Chotsourian has dug back into the Los Natas archives — also apparently the public domain stock footage archives — and put together a video for the 13-minute jam-out “El Gobernador.”
These years past, the Los Natas discography is pretty murky. Tracks show up across multiple releases and in different forms, different recordings, and so on. “El Gobernador” was originally split into two parts and presented on the 1999 EP of the same name, with Chotsourian on guitar and vocals, Walter Broide on drums and both Claudio Filadoro Rimec and Miguel Fernandez contributing bass. That same year, the two parts appeared on a split with Spanish treasures Viaje a 800, and I’m not sure if that’s the same recording edited together, a different take or what. Not knowing, as ever, is only an excuse to hunt down both versions and find out.
This single-track version of the piece is from the double-CD compilation, Bee Jesus, on which it appeared as a not-insubstantial bonus track accompanying the band’s first two full-lengths, both of which happen to be back in print through Argonauta as well. As to where else it may or may not show up in the catalog, your guess is as good as mine, or, more likely, better. But this is a new video from out of the intricate and sometimes head-spinning catalog of the Argentinian heavy rock underground legends, and I’m more than happy to have an excuse to spend 13 minutes out of my day listening to Los Natas on basically any occasion. Some new visuals, even out of the public domain archive, qualify easily.
The clip was put together by Chotsourian himself. You’ll find it below.
Enjoy:
Los Natas, “El Gobernador” official video
VIDEO OFICIAL DEL DISCO DE LOS NATAS – “BEE JESUS” PRODUCIDO POR GONZALO VILLAGRA VIDEO REALIZADO POR SERGIO CH.
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Posted in Whathaveyou on February 19th, 2020 by JJ Koczan
I’ve heard enough Soldati since the band’s inception — that includes prior versions of a couple of the songs included on their debut album, Doom Nacional, as “La Electricidad del Arbol Caido” (posted here) and “Whisky Negro” (posted here) have been featured in the past; that’s not counting the band’s 2016 demo (discussed here) — to know that there’s no way the full-length’s first single represents the entirety of the release, but goodness gracious did they ever pick the right track to put out there first.
Driven by a classic, heavy push of a riff from Sergio Chotsourian, “Suicide Girl” evokes the guitarist/vocalist’s past in Los Natas while keeping a rawer edge that Soldati — who’ll release Doom Nacional on April 24 as part of Chotsourian‘s ongoing partnership with Argonauta Records, which has done his solo material as well as Los Natas reissues in the past — has come to represent. You can stream the song at the bottom of this post. And you should. It is righteous and mean.
Dive in:
LOS NATAS’ Frontman Reveals Album Details Of New Band Project SOLDATI!
Debut Album, Doom Nacional, coming this April via Argonauta Records!
There has been something going on behind the scenes of frontman Sergio Ch., guitarist and vocalist of the Argentinian rock trio Los Natas. Today, he revealed the hotly anticipated details about the upcoming debut album of his new band project, SOLDATI!
SOLDATI, (soldiers in latin), started their generators a couple of years ago already, but have finally revealed a first track taken from their upcoming debut album, Doom Nacional, slated for a release on April 24th via Argonauta Records. Listen to the first single, Suicide Girl, HERE!
Why soldiers? “Maybe we feel we’ve been fighting all our lives for freedom, happiness and mind peace.“ Band mastermind, Sergio Ch., explains. “Growing our children, surviving South America and blasting our heads with the sound and vive that makes us feel good, alive and free at least a couple hours a week. That’s what we live and stand for.“
“Musically I just undusted my old SGs guitars, 3 stomps and my 70s amps I used for Los Natas for more than 20 years. No changes. Just keep on the audio and the legacy I created back in 1994, maybe where I left it, at the doorstep of Los Natas’ album “Nuevo Orden de la Libertad”. He continues. “Not so stoned, not so hanged off, more straight forward in your face, with riffs and words. Just pushing the limits to get to our own truth. This is our debut full length album, where I think we could resume all the war inside our heads, it’s a beast on its own character and warmth. It’s also about love, hate, good and bad shit that happens to us every day. Trying to get in balance and live just for today. The present time. The golden balance of time.“
[ Artwork by Sergio Ch. ]
Doom Nacional Tracklisting: 01 From Skulls 02 Suicide Girl 03 Whisky Negro 04 La Electricidad Del Arbol Caido 05 Los Secretos De Shiva 06 Un Tren Al Sol 07 Solar Tse
Posted in Bootleg Theater on January 29th, 2020 by JJ Koczan
Stop me if you’ve heard this one before from this site (yes, you absolutely have, and more than once), but Natas‘ Delmar is a special album. The standard comparison I make is I would not trade the songs on this record for all the Kyusses who ever walked the earth, and any chance to hear any part of it is only something I find makes my day better. Every time.
I have a profound association with the album and its centerpiece, “Soma,” from the time I spent working in New York City at Metal Maniacs magazine, when such a thing existed. This was 2007-2008. I commuted by train from the Denville stop in NJ and the trip into Penn Station was well over an hour each way. But for the fact that nearly every penny I made at the gig went to the cost of traveling to and from it, and the loss of four hours of my daily life on the door-to-door, and the fact that the company that owned Maniacs was clueless about the value of the property, that fucking girl in the office with no indoor voice, the shitty jam bands that the other/bigger mag played on the office stereo, the fact that going to shows required going home first then returning to the city by car, and the generally oppressive nature of NYC on general, it wasn’t a terrible job. I continue to have nothing but love for Liz Ciavarella-Brenner, the editor with whom I worked most directly in the office.
On the whole, however, it was a situation that required one to take solace where and when possible. Delmar was a means by which I did exactly that. Every morning I put Natas on my portable CD player and listened through my Bose noise-canceling headphones (since deceased) and it allowed just the right amount of morning escape my probably-hungover self needed. I loved the record before that, but there was a bond formed on that train ride and it has lasted longer than that job, the magazine, or, really, print media itself. I continue to hold it in a regard I hold few full-length albums.
New video for “Soma,” you say? First official video ever from Delmar to honor the next re-press of the 2018 reissue through Argonauta Records, you say? Yes, obviously I’m going to post that.
Enjoy:
Natas, “Soma” official video
VIDEO OFICIAL DEL DISCO DE LOS NATAS – “DELMAR” PRODUCIDO POR PICHON DALPONT VIDEO REALIZADO POR SERGIO CH.
LOS NATAS is a trio formed during 1994 in Buenos Aires/Argentina. Their musical influences are numerous and varied, having the base of the raw and psychedelic sound of 1970s bands such as The Doors, Black Sabbath, The Who, Pink Floyd and Hawkwind, among others. Los Natas propose a journey made of basic elements: valvular equipment and vintage instruments, they incorporate the use of the senses and perception of the listener as a part of a sonic trip.
They make music that changes constantly, supported by long jams that give them a different meaning every time they execute them having that way a sense of freedom in the way of interpreting the sounds, making this experience extremely related to the sensations that both the musicians and the audience receive every time a show begins. This is the essence of what people knows today as Stoner Rock.
At the time it came out four years ago in 2015, Sergio Ch.‘s first solo album, 1974 (review here), seemed to take shape directly from out of the third offering from his band Ararat, 2014’s Cabalgata Hacia la Luz (review here). The two shared several tracks, among them “La Familia y las Guerras,” and both had an overarching purpose in introspection, an intimate feel that manifested in experimentalist-tinged folk in one and brash heavy punk/rock in the other. Still, they were linked, and with Sergio Chotsourian‘s songwriting at the epicenter, they held a consistency that went beyond whatever sonic disparities there may have been. Different appeal, same level of quality between them.
Chotsourian has since gone on to form the trio Soldati and begin to dole out singles and other short releases ahead of an eventual full-length, and he’s also put out the second acoustic-ish album, 2017’s Aurora (review here), as well as several collaborative efforts of various stripes, but I still break out 1974 on occasion, and songs like “La Familia y las Guerras” are a big part of why. Arrangement-wise, there’s nothing outlandish about it, and it’s not as drone even as some of the material on the subsequent full-length would be, but it carries a nonetheless open feel and is spacious thanks to a bit of echo while still staying intimate in a close-up-to-the-mic vocal-style from Chotsourian, who if he didn’t record it live certainly gives a convincing facsimile of having done so.
As to why now would be a time to make a video for a song on a record that was released so long ago, I’d only ask the obvious question: “Who cares?” In addition to the aforementioned and long-bandied Soldati long-player, there’s been word that Chotsourian will do another solo offering under his own name, and that will be something to look forward to, but in the meantime, why not shut up and take what one can get? If that’s going for a backwards walk in some hot-looking desert space, then so be it. One could, of course, do a lot worse, both in the video and in life generally.
I’ve also included the full 1974 stream below, in case it’s been a while.
Enjoy:
Sergio Ch., “La Familia y las Guerras” official video
VIDEO OFICIAL DEL DISCO DE SERGIO CH. – “1974” PRODUCIDO POR SERGIO CH. VIDEO REALIZADO POR MILAGROS ARROM Y LUCAS MARTINEZ
