Recorded and mixed at Abastostudio, Argentina.
Engineered by Billy Anderson.
Additional Engineer: Patrico Claypole.
Produced by Billy Anderson and Los Natas.
Mastered at Trakworx Studios.
Cover painting by Hannes.
Artwork by Sergio Chotsourian.
Reviews for El Hombre Montana...
Like I was sayin', when a band tightens form and accentuates beating ass within their defined normative structures/ parameters, we all win. It happens on the Melvins new one, A Senile Animal, it happened with Boris' Heavy Rocks, it even went off on Harvey Milk's The Pleaser, and it sure as fuck happens here. The previous (Los) Natas recs I've heard had a stoner rock/ Kyuss jam-to-the-gods aspect that lets'm reel it out for a few deeply felt bong hits. Then a few more well-placed pulls on the tube. I like'm a bunch, especially Cuidad de Brahman, which came out on the now-defunct Man's Ruin Records, a goddamn great pan-rock label. I hope it's still in print somewhere.
I don't know anything about these guys' influences, but this one rolls up on badass bellbottom-era '70s kickass without any pretense to duplicate it as a period piece. The energy and attack puts'm more in league with the "We're rockin' now, ain't we?" aspect of stoner rock's "kick out the jams, motherfucker!" moments. High energy acid rock with a liquid flow that relaxes and spreads just enough before the guitarist starts biting off bar chords, the bassist starts cutting riffs in half and climbing the fretboard, and drumbo doubles his tempo, saddling up and getting' after it again. That they've been on Aerosmith, Black Sabbath, and Blue Cheer tribs makes as much sense as their gigs with QOTSA. Man, I hope there's other stuff this good down in Argentina.
Craig RegalaOctober 10th, 2006www.lollipop.com
Since 2001, fans of Argentina's Los Natas have been waiting for a proper follow-up to Corsario Negro. The band was far from idle over the past five years, though, releasing the sprawling odes to psychedlia, Toba Trance I and II, and their live-in-the-studio The Munchen Sessions (which also featured Colour Haze's Stefan Koglek).
Those who have been holding their breath, it's time to exhale (and rejoice). While El Hombre Monta˝a mostly eschews the more winded, psychedelic side of those stop-gap releases, it's not like the band forget anything they learned since 2001. So it's a more to-the-point record, one that falls back on the Kyuss-influenced sound that defined the band's earlier works, but there are still faint traces of their "non-cannon" material. "No es lo Mismo," for instance, has the driving rhythm of a classic stoner rock track, but with melodic, psychedelic guitar noodling. It's probably the strongest song on the album. "El Camino de Dios," a moody acoustic number, and the uplifting "Sigue, Sigue..." are some other fine examples of Los Natas' s t y l e on El Hombre Monta˝a.
The bottom line is that fans of the band since Corsario Negro will undoubtedly dig the hell out of this, as will those who appreciate a South American influence to their heavy riff rock. Personally speaking, it's not going to make any personal Top 10 lists at the end of the year, but it's nonetheless a fine return to form for the Argentinean band.
John PegoraroAugust 8th, 2006www.stonerrock.com
Los Natas' latest release "El Hombre Montana" [The Mountain Man], is an epic slice of doom-laden pie fresh from Argentina, as the first fuzz-a-licious track "El Bolsero" proudly testifies. Waves of riff lick at the shores of melody as the vocals dive in and out of the mix, quite delicately so for this style of music. Around the halfway mark the guitars fuzz their way to a dirty lead lick that ties the song together like The Dude's rug. The drums tap a stacatto counterpart to the elegantly woven song, and before you're ready, its over.
"Amanacer Blanco"continues along a similar vein, with the guitar interplay weaving a psychadelic soundscape deep in your frontal lobe, before "No Es Lo Mismo" hypnotises your head into a manic bobbing frenzy. The interplay between the drums, vocals and guitars [bass included] is in full magnificent stride from the get-go, bringing to mind Kyuss by way of the 1970's. Indeed, Sabbath themselves would be proud of the of the sound.
This full-length 11 track album comes on the coat tails of their usual 3 tracks an hour EP style, with each song showcased here clocking in between 3 and 8 minutes. The production job was handled by one of the stoner scene's greatest recording affeciandos Billy Anderson, who has worked with The Melvins, Neurosis, Acid King, Fantomas and High On Fire previously, to name but a few! The production job is really quite superb, effectively capturing all the elements of the Los Natas sound and bringing each instrument to the fore in turn. This CD even sounds good through my shitty laptop speakers!
"Humo Negro Del Vaticano" drones through the first four minutes before building to a mighty drum-led crescendo, with some fine vocal-style skin work punctuating the fog of fuzz. It even ends before it becomes contrived [a fine thing in a style of music that does usually demand every song is taken to its absolute limit]. The next track, "La Espada En La Piedra" starts off with a punk rock thrash before breaking down into a wheeling solo that makes you just wish you were speeding across South America in an open-top Camaro with a joint in your hand. The track even ends with, I swear, an engine sample, although it could just be a stange guitar sound coupled with my wishful thinking. This is doom rock for the summer!
Los Natas have clearly moved into some very interesting territory indeed with "El Hombre Montana", fusing some classic 70's psychedelia amongst other influences, into their heavy rocking sound, and coming out the other side of the equation with a selection of songs that beg to be played and heard live. Their commitment to singing in their native tongue deserves respect, although I wish that I could understand the lyrics [which is really my fault for not learning Spanish!].
"El Ciervo" wails away like Queens of the Stone Age wish they could, with a ROCKING guitar riff that begs to be blasted loud wherever it is played, before a wailing round of group "woahs" closes out the near 8 minutes of audio quicksilver. There is a definite punk influence here, but Los Natas neatly side-step clichÚ with their inventive mix of styles. It never becomes old hat, but instead forms some kind of brand new part-mohawk, part-long hair, part felt thinking cap headgear as their sound envelops your conscious.
"El Camino De Dios" is a beautiful acoustic song that brings to mind both Mark Lanegan and Monster Magnet in equal measure, with the vocal leading the charge for the first time. It is almost a less flamenco Gipsy Kings that Los Natas appear as here, and it hooks you in for the four-track ride to the albums climax.
Los Natas have created, in "El Hombre Montana" an album that breaks new ground by recombining the old soil with fresh tasty nutrients from the modern scene to create a fertile aural meadow for you to lay back in when the Sun is high in the sky and you are even higher. If you enjoy progressive heavy rock, then go and pick up this fine piece of "Latin Heavy Psych" whilst the temperatures still beg you too.
dave e destructionJanuary, 2008www.roadburn.com
I don't know if it's because the band doesn't sing in English, or if it's because it's from Argentina, rather than a Latin country higher in the gringo public's consciousness or what, but Los Natas doesn't get the acclaim it deserves in the rock world. Stoner rock aficionados know the trio, of course, but outside of that: nada. Too bad: as El Hombre De Montana makes damned clear, Los Natas rocks in all the right ways, with killer riffs, strong melodies and an enigmatic attitude that has nothing to do with the lyrics. "Amanecer Blanco" and "El Soldado" pound you into submission, but lovingly. "El Ciervo" and "No es lo Mismo" travel into inner and outer space at the same time. "El Camino de Dios" lets in some fresh air with a surprising acoustic tune that's somehow beautiful and gritty at the same time. Psychedelic mists envelop nearly everything, but never obscure the good old-fashioned thunder grooves. El Hombre De Montana thuds when it should, shimmies when it needs to and re-establishes Los Natas as a titan in the world of heavy rock. Awesome.
Michael TolandNovember 27th, 2006http://community.livejournal.com/highbias/181862.html
All Music Guide
After two albums, 1998's Delmar and 1999's Ciudad de Brahman, made up of competent, but seriously Kyuss-dependent stoner and space rock, Argentina's Los Natas definitively established their own unique identity with 2002's critically acclaimed Corsario Negro -- an often stark and mostly wordless Patagonian soundtrack built on songs resembling slow-advancing glaciers, their riff-blocks as dense as Andes Mountain strata compacted by untold eons. Then, there followed Toba Trance, which essentially extrapolated those panoramic songwriting tendencies while apparently satiating the band's interests in that creative direction. The next Los Natas album, El Hombre Montana, found them switching gears completely to embrace an astonishingly raw, loose, even ragged, brand of fuzz rock, so far removed from Corsario Negro as to be almost shocking. Yet, for the most part, it's a source of great relief to see that Los Natas stellar compositional and musical skills still manage to carry them through the day: whether pounding their way through a predominance of high-energy numbers ("El Bolsero," "La Espada in la Piedra," "El Soldado," etc.), detouring into bare-bones acoustic offerings ("El Camino de Dios," "Sigue, Sigue..."), or trudging closer to their slow burning, doomier natural element on rare occasions ("Humo Negro del Vaticano" "De las Cenizas, El Hombre..."). If all of the above reveal any notable weakness, it has to be Sergio Ch.'s somewhat limited range of vocal expression; a weakness he'd rarely had a chance to even test on those largely instrumental recent efforts, but which here is nevertheless remedied by his laudable insistence on writing Spanish lyrics, which lend the entire album an exotic flavor. And that, along with their innate talents, maverick mindset, and fearlessness about tackling a fresh approach to songwriting, ultimately guarantee another compelling outing for Los Natas, whose fans undoubtedly realize how precious these qualities have become in the 2000s decidedly impoverished stoner rock scene.
Eduardo RivadaviaSeptember, 2006www.allmusic.com
Red Decibel Magazine
ItĂs pretty easy to get your dick sucked in the stoner rock community; as long as the bongĂs in one hand and a copy of Master of Reality rests in the other, any band can find favor as the second coming of Black Sabbath. And if Brant BjorkĂs not around as a session drummer, having Billy Anderson behind the boards is the next closest thing to a free pass. HeĂs a staunch guitars-and-vocals kind of dude, friend of feedback, the bane of any enterprising rhythm section¨in other words, the prototypical stoner rock producer. That sound can be very limiting, but credit Anderson with giving bands free reign to ejaculate in every corner of the studio¨itĂs always better to sound like a thundering elephant than a white one.
ItĂs a toss up whether El Hombre de Monta▒a will receive a good stroke from the message board warriors, since the Argentine trio has stepped away from the carefully plotted epics of past releases and tapped into the freewheeling South American psychedelic tradition. ˘El Bolsero (The Drug Packer)÷ suggests that the best Los Natas ideas are still rooted in Sabbath pastiche¨but dig how Anderson lets the component parts breathe a little before whipping everything together for his own personal Wall of Sound. AndersonĂs cluttered approach works so well when the tempos start to gallop that itĂs surprising he hasnĂt been enlisted to give Lemmy a facelift yet: more parts of El Hombre de Monta▒a draw on Mot¸rhead than Hawkwind. As for Los Natas, itĂs time to give up ditch weed for biker acid forever: the obligatory instrumental ˘Lanza Ganado÷ totalmente reglas.
Nick GreenOctober 2006www.decibelmagazine.com
Daredevil Magazine (Germany)
Everyones favourite Argentine band is back with another smokefilled blow of Stoner-rama. The thing I like about Lost Natas is that every output is different...one album is fuzzy like hell, the other one is doomy and psychedelic and then there is "El Hombre Montana"...this album stands by oneself and is my favorite Los Natas album so far. This time the guitars are not distored and tuned down to unconsciousness...everything sounds fresh and comes over powerful and pushing. The tunes are huge with a shitload of raising moments and well done vocals. This is like a Heavy-Rock version of Motorpsycho. Something for every mood, it goes from really slow to fast, but everything with the relaxed and laid back Los Natas vibe. I also think that they?ve found the right producer with Billy Anderson and on "El Hombre Montana" you can hear that Billy understood the sound of Los Natas. This is a must buy for Stoners worldwide. Highly recommended!