Sergio Chotsorian: Guitar & Vocals
Walter Broide: Drums & Vocals
Gonzalo Crudo Villagra: Bass
Santiago Chotsorian: Piano
Recorded @ Monsterland and El Attic Studious - Buenos Aires, Argentina.
Recorded by Patricio Claypole and Mr. Alvaro Villagra.
Produced by Sergio CH., Patricio Claypole, and Los Natas.
Mastered by Chris Goosman @ Baseline Audio Labs - Ann Arbor, MI.
Artwork By Sergio CH.
LOS NATAS is like good vine: the older he gets, the better he is. I feel no affection at all for their early albums, when they called themselves NATAS. To me they were just a cheap Kyuss clone and even Kyuss doesn't mean a lot to me. But all these are now a thing of the past and since the release of 'Corsario Negro' in 2002 I started to like this Argentinian power trio. Finally they had developed their own identity and meanwhile LOS NATAS belongs to the spearhead of South American heavy rock bands. 'Nuevo Orden De La Libertad' is their third album for Small Stone Records and in my opinion it's their best record until now. The dark atmosphere is what you first notice here and due to the title, which means 'The New Order of Liberty', it is possibly a record about an entirely fictitious revolutionary movement. Well, there are no lyrics and I don't speak Spanish so it remains an assumption. But anyway, heavy psych rock still stands in the foreground, enriched with the band's own musical psychoactive eccentricity. Particularly noticeable is the fact that the album is full of fresh and catchy songs.
As the name implies, 'Hombre de Metal' surprises with a strong metal edge and contains some nasty heavy riffs, similar to what you'd expect from the likes of High On Fire or maybe Celtic Frost. Same goes for 'Resistiedo Dolor' and the title track, where LOS NATAS blend blues, hardrock and metal to a powerful unit. And, by the way, the catchy refrain of the title track is like a call to arms and a signal of alert for all hobby revolutionists while 'Ganar Perder' is so touching and probably one of the band's most emotional ballads. The hard rockin' songs are interspersed with a couple of instrumental tracks that increase the cohesion and mood of the whole album. And, of course, it makes 'Nuevo Orden De La Libertad' more diversified. The other thing I really like about this record is its naturally, earthy production that also gives an authentic picture of their live sound. To my surprise, Billy Anderson didn't produce the album, but this doesn't really matter. So if you have more love for LOS NATAS' heavy rock than for their experimental, kraut-y soundscapes, it's definitely no mistake to buy 'Nuevo Orden De La Libertad'.
Los Natas is one of those acts that’s respected by nearly everybody in its chosen sphere, but largely unknown outside of it. Too bad – when it comes to stoner rock, it’s hard to beat this Argentine power trio. Too many bands of this milieu glory in the thud and crunch and forget the psychedelic subtleties that are as much a part of heavy rock as riffs. Not Los Natas – Sergio CH and his crew incorporate any trippy thing that comes into their heads on Nuevo Orden De La Libertad, while still remaining heavy at the core. Thus you get the theremin-like noises strewn throughout the otherwise bruising David & Goliath, the Steve Howe-does-spaghetti-western-soundtracks coda of Ganar=Perder or the marching piano of Dos Horses. There’s still plenty of meat for carnivorous headbangers – El Nuevo Orden… and the appropriately titled Hombre de Metal pound like a seething cave troll, while 10,000 thrashes like Sauron clearing the field of elves. Los Natas is the best kind of heavy rock band – always evolving while trumpeting the original virtues.
- Michael Toland
A funny thing has happened to me having listened steadily to the record since the day it came out on iTunes March 10th. After the initial giddy glow of 'new Natas!' wore off and I started listening to the record on its own merits, El Nuevo Orden de La Libertad made me begin to seriously re-evaluate Los Natas' prior full length studio album- 2006's El Hombre Montania. Of their 10-years-long catalogue, that was the record I tended to reach for the least. I never thought it was a bad album, it just never resonated emotionally deep for me. But now with three years hindsight, and a jolt of hearing a 2009 Natas by its side, I am rediscovering El Hombre Montania in a big way. And now I love it...
As others have echoed, this seems to be The Natas' angriest, darkest record. It's not doomy really, but its 'tough' and angst-ridden in a way, generally, I'm not used to hearing from these guys. Largely gone are the sweeter, fat, desert Latin riffage present on frankly most of their albums. The sound on this album is still huge, but not quite as Billy Anderson Corsario Negro huge. Perhaps this kind of anger in their music will take a bit more getting used to from me...
What still remains, and I love 'em for it because they do it in their own unique way, are the sprinkled oases of beautiful melody and harmony, that pops up out of the chaos when you don't expect it, and they hang out there for a little while- but don't let you have it too long. You know what I mean? And then there is the acoustic, dreamier side of Natas that does show up here too with the gorgeous 'Bienvenidos' and 'Dos Horses' (the latter featuring some up-front piano work).
Taken together, I think I'd have wanted a piece or two more like, or just like, their song 'Gitanoss' that showed up as a 10" vinyl tune under the Ararat Sessions. So again El Nuevo Orden... may take a bit more getting used to for me, or it may become what El Hombre Montania was for the last three years- the album I reached for the least- but then I'll rediscover it in force a few years from now...
Argentinian stoner rock trio Los Natas (formerly just Natas, but a rap group grabbed that name away from them) has been pumping out albums since the late 1990s; they started out on Man's Ruin, but Nuevo Orden de la Libertad is their third release for the Detroit-based label Small Stone. Their music is heavy and psychedelic, with occasional bursts of punky speed and -- perhaps more impressively -- side trips into trancelike rhythms, desert guitar tones and spacy keyboards. The acoustic bridge on "Ganar-Perder" ("To Want-To Lose") creates an evocative mood of spiritual desolation that makes the return of the song's primary riff, not to mention Gonzalo Villagra's throbbing, relentless bassline, that much more effective. Similarly, "El Pastizal" features an almost flamenco-like intro that leads into a thundering, almost Melvins-esque stomp. On the other hand, "Resistiendo al Dolor" ("Resisting Sadness") features a riff blatantly jacked from High On Fire, so points off for that. In its second half, the album starts to feel a little padded, with the one-riff instrumental "David y Goliath" followed by the 90-second acoustic guitar bit "Bienvenidos," but "10,000" takes things in a pretty rockin' direction, and would have been a better than decent ending to things. Los Natas have one more trick up their sleeves, though -- the decidedly weird instrumental "Two Horses," which mixes spaghetti Western guitar plucking with reverbed piano to hypnotic, hallucinatory effect. If Alejandro Jodorowsky ever films the long-rumored sequel to his 1970 cult Western El Topo, this track should be its theme music.
- Phil Freeman
It’s vaguely correct to call El Nuevo Orden de la Libertad, the new album by Argentina free rockers Los Natas a return to form. Their third offering for Small Stone, it sees a resurgence of the kind of catchy desert riffing that permeated early works like 1999’s Ciudad de Brahman and their classic 1996 debut, Delmar (both albums were on Man’s Ruin), but if a decade has passed since those days, it has brought changes with it that manifest themselves, as ever, unexpectedly on this striking new collection of songs.
Los Natas is not a young band anymore. Depending on whether you count the likes of Unreleased Dopes and München Sessions as separate full-lengths, El Nuevo Orden de la Libertad marks upwards of nine LPs over the course of a 16-year existence that has also brought forth numerous EPs, 7″s and splits with the likes of Dragonauta, Viaje a 800 and most recently Solodolor. Their creativity is unbridled on this newest album, but it’s also tempered with a maturity presenting itself in tighter songcraft than on their last studio offering, 2006’s El Hombre Montaña.
Beginning with somber notes that symmetrically reappear at the album’s close, “Las Campanadas” is a straightforward, guitar-led riff rocker with an insistent rhythm and confident vocal delivery from guitarist Sergio Ch. The music is aggressive — you can hear it on Walter Broide’s punkish (or Slayerish, depending on the context you want to give it) ping ride abuse at 2:54 — but the anger is never the central focus of the song. Maybe that’s because I don’t speak the language, but taking the vocals and the music together as one piece, they balance each other out and, structurally, strike as purposeful and not over the top.
The title track follows and delivers the catchiest chorus of the record; the kind that has you (me) waking up at night to go to the bathroom and singing it to yourself (myself) while you (I) do. It’s here that Los Natas sound most like they’re making a political statement, a rallying cry to anyone listening. “Resistiendo al Dolor” provides a moment of atmospheric respite before launching into its own rhythmic desert punk led by frantic lead work from Sergio and underscored by the fuzz-laden bass of Gonzalo Villagra. If everything before hadn’t also been an album highlight, it certainly would be.
“Hombre de Metal” works at a slower pace, dragging Sabbath through the sand, while “Ganar-Perder” takes a Western guitar line and incorporates Latin influences while bringing them into the context of the Los Natas sound. The acoustics that launch “Noviembre” serve as an effective break from the heaviness around and demonstrate the growth in songwriting that has taken place over the band’s career. Where on Delmar, that might be a spacious jam, on El Nuevo Orden de la Libertad, it is a tightly delivered intro serving a specific purpose. The darkness of the song itself gives way to more chaos on the instrumental “David y Goliath,” on which Broide gives what might be his best performance of the record, and “Bienvenidos,” another acoustic interlude, sets a contemplative tone for the album’s finish.
“10.000,” which is effectively the last song on El Nuevo Orden de la Libertad, is an apocalyptic culmination of flowingly raucous desertry. If they’re unhinged anywhere, it’s here. But they’re not, and that’s perhaps the scariest part of the song and what makes it hit even harder. Los Natas know exactly what they’re doing and they’re doing it with frightening efficiency. Another memorable, punishing riff sees the track into its fadeout and “Dos Horses” brings back the notes from the “Las Camapanadas” intro and expands them into a piano-infused instrumental piece that presents subtly psychedelic images of riding horseback across a sun-setting desert. Those boots may not be comfortable, but the song sure is.
I won’t say this is the greatest work Los Natas has ever done. Each of their albums has too much personality and too much of a separate appeal apart from the others to be granted such hyperbole. The fact, however, is that El Nuevo Orden de la Libertad puts you exactly where it wants you for every minute of its run time. It boasts the most together-sounding performances the band has ever put to tape and is easily the best record I’ve heard so far this year.