Reviews for Corsario Negro...
ALL MUSIC GUIDE
What has six legs, three heads, sings in Spanish, and sounds like a herd of dinosaurs marching across a pre-historic Patagonian beach? Why, it must be Argentina's phenomenal Los Natas, whose earth-shaking brand of doom metal ranks with the best yet heard in this new millennium. Recorded in their hometown Buenos Aires' Abasto Studios with the aid of renowned indie rock producer Billy Anderson (Helios Creed, Red House Painters, etc.), the band's third full album, Corsario Negro, continues to distill their post-Kyuss stoner rock/doom metal with a wash of psychedelic sounds, space rock, blues infections, and jazzy noodlings. Opening with the very amusing "2002" (essentially the main theme from 2001: A Space Odyssey gone doom), the album rumbles into gear with a trio of stunning tracks combining all of the above sounds; beginning with the mesmerizing "Planeta Solitario," rolling onward through the galloping "Patas de Elefante," and culminating in the simply colossal power chords of "El Cono del Encono" -- quite simply an all-time doom classic. The disc's mostly instrumental second half isn't quite as satisfying, but still offers a number of inspired moments by way of the crushing title cut and the quite beautiful, sweetly chiming melodies of "Hey Jimmy" and "El Gauchito." All in all, the dynamic swings and stylistic depth found on Corsario Negro represent a new stage in the group's evolution and will likely convert many past cynics who may have accused Los Natas of owing far too great a debt to Kyuss. Here, they have clearly broken free of these shackles and are forging their own path.
Ed RivadaviaJanuary, 2004allmusic.com
Along with the little change in their name (the addition of LOS), the Argentinean masters of trippy heaviness, decided to experiment with their sound as well. While the successful recipe of writing brilliant sonic journeys would lead them to another psychedelic masterpiece, after DELMAR & CIUDAD DE BRAHMAN, NATAS went for the hard route instead. With Corsario Negro, the band got rid once and for all, the KYUSS blanket from their shoulders and finally reached its own place in the heavy rock community. Listen to Planeta Solitario or El Cono Del Encono and tell me whether you expected doom - for the most part - songs coming out of NATAS' instruments. Listen to those jazzy grooves that Walter and Gonzalo create. Or that progression in their music that always ends up in trance-like feelings. And Sergio's Spanish lyrics, always there to complete perfectly the mystic sense of NATAS' work.
I have to admit that I didn't get into this record right away. Maybe it's due to the surprise factor that grabs you at first. But with continuous listening you realize that it's the same band, the same sounds that would send your mind on a serious cosmic trip. Only a little heavier. And dare I say, even better than beforeÓ
Francoise MassacreFebruary, 2004www.monolith.gr
DROOOONE, DROOOOONE. As the didgeridoo rumbles you can feel it throughout your body, enhancing the buzz all around. A band of such mind numbing effects which emanate nothing but brutal doom can only be from a place like Argentina. Metal Dan and I had this conversation before, about all these stoner rock bands. If a band copies the best metal band (that being BLACK SABBATH) then that band will most likely rock because of its influences. You canĂt deny that ELECTRIC WIZARD brutality that is blasting at 11 on the tube amp giving you that ˘stiffy÷ (ladies, canĂt forget those nipples). That same feeling goes with these guys- LOS NATAS.
They changed their name from NATAS because a rap group had the same name. Politics ruins it all the time! They sing in their native language so that brings a new experience to Corsario NegroĂs down to earth doom rock feel. If I only knew what they were saying IĂm sure I could identify with their side and experiences. The song "Planeta Solitario" gives me a pretty good idea though. They remind me of Jesus, bringing down thy holy music to the whole planet, especially on "Contemplando La Niebla". The vocals on this album sustain to fill the heart with warmth and joy.
Corsario Negro was produced by Billy Anderson (MELVINS, FANTOMAS, NEUROSIS) who flew down to Argentina to help with this drug inhabited trip. That certainly shows a sign of care and feeling on AndersonĂs part to do something so grand but unheard of so far. "Bumburi" kicks in with a KISS-esque flavor which to me is always ready to bring the house down. LOS NATAS sink into their signature style of acid induced mellowness on this album and all hell breaks loose. You can feel the head sway on "Planeto Solitario" and comes in with a blistering, ˘chugalug chugalug chugalug chugalug chugalug÷. The title track "Corsario Negro" goes all out into a jam worth mentioning. Deep, deep music. Fellow mellowers out there, take heed. This is not an album to turn down. ItĂs something to first, break up in the buster, then roll up that Hempire paper with LOS NATAS and toke, toke away. Viva LOS NATAS!
Yes, this is the new album from the Argentinean stoner-rock outfit formerly known as Natas; the unfairness of the music industry forced them to alter their name because of a hip-hop group going by the same moniker. Undeterred by the possible legalities, the band changed their name and signed to Detroit's indie powerhouse Small Stone Records. Produced by the now ubiquitous Billy Anderson, Corsario Negro is quite different from the Kyuss-like outings of their previous albums on the sadly defunct Man's Ruin label: it resembles more of a laid-back, spacey approach than an all-out stoner riff-fest (though these chords are not at all lacking). Beginning appropriately with the anthemic instrumental ˘2002÷ (Los Natas' own rendition of the theme from 2001: A Space Odyssey), the band launches into ˘Planeta Solitario÷ and ˘Patas De Elefante,÷ two similar songs in which guitarist/singer Sergio Chotsourian really shows off his soulful side as he sustains his vocal lines longer than on past records. Generous guitar echo effects permeate ˘El Cono Del Encono÷ as drummer Walter Brodie expertly regulates its pace via his shifty snare shuffles and ride-cymbal tings. ˘Lei Motive÷ adds a bit of Jerry Lee Lewis-styled piano to the mix, and the brief ˘Hey Jimmy÷ serves as an acoustic interlude to the beefy, power-chord march of ˘Contemplando La Niebla.÷ The faster ˘Bumburi÷ and ˘Americano÷ wouldn't seem out of place on a Nebula album, and the epic title track proudly brandishes the Kyuss stamp. Once again, there is nothing evil about a band whose name is Satan spelled backwards: just heavy psychedelia the way it should be.
While being from Argentina certainly keeps Los Natas from getting the attention they deserve, it has certainly helped them to craft a sound that is all their own.
Corsario Negro is a pure Los Natas. It's heavy and has atmosphere to it, while still showing the band's love for soulful interludes. Take "Planeta Solitario" for example - it starts off with a crushing intro before dropping into a more jammy mid section that injects the despair of the song's title with its haunting guitar tones and percussive breakdown. Huge points on this one have to be given to producer Billy Anderson, who while capturing a much thicker sound for the band during the heavier parts, also gives the mellower sections more space and atmosphere on "Patas De Elefante" and "Planeta Solitario." What has also always been so great about the band is their love of actually jamming out on their albums. The end section of "Patas De Elefante" is killer to listen to as the band throws their all into an energy building finish.
"El Cono Del Encono" is a definitive Los Natas track. Take every descriptive I've used in the previous sentences, combine them into one song and you have this track. The heavy sound, the jamming in between verses, the soulfullness of the vocals are all there. "Lei Motive" has a mountain of emotion poured into it, it's one of those Los Natas tunes that almost makes you weep. A track like "Contemplando La Niebla" shows why these guys are so different from 99% of the bands you'll hear on any stoner comp. Part of it is the fact that they are from Argentina and do have a latin influence, part of it is the musicians' jazz background, and part of it is the influence of the landscape around them. If Grand Magus can be influenced by the mountains and forests of Sweden, certainly the geography of Argentina plays a role in Los Natas' sound.
As with all Los Natas albums, the tracks are never alike and are not locked into one style. So a track like "Bumburi" that starts off with a ZZ-Top like blues riff is surprising in a certain sense, but at the same time indicative of the bands willingness to experiment. The title track is an all out, seven-minute-long jam that closes the disc out nicely with this super-thick aggressiveness. At the same time it moves through multiple changes, keeping the listener on their toes.
Hopefully with this disc, the guys will get the attention they really deserve and turn more of us gringos on to what we've been missing for the past three albums.