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| BUFFALO |
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Astroqueen vs. Buffalo (Dias De Garage)
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http://www.live4metal.com/reviews-289.htm
Review by Scott Alisoglu
I reviewed Temporada De Huracanes from Argentina’s Buffalo back in 2003 and raved about the band’s solid mix of pure metal and fuzzy Kyuss-style stoner rock. The band has now returned with a split CD that includes Sweden’s Astroqueen, another quality stoner rock band (yeah I know, the term “stoner rock” has become so overused that it has almost become meaningless, but I think you get my drift). Astroqueen writes infectious tunes with lots of fuzz and buzz. The rather tuneful singing is high in the mix and comparisons to Fu Manchu wouldn’t be inaccurate. I just thought that the sound wasn’t quite as track monolithic as it could be. That said, “The Untitled” is especially catchy, grooving through
most of the way through and eventually picks up speed close to the end. Album-opener “Crashlander” also scores high on the catchy scale. The guitar harmonies with bass/drum pounding and fat riffs on “The Shades of Jon Doe” tickled my fancy as well. The Buffalo side of the split shows a band with more confidence and more focused arrangements, compared to Temporada De Huracanes. By the way, the original compositions are all sung in Spanish. In the way of highlights, “Asesino de Corderos” features a tough Kyuss groove and nice lead guitar work. “Jesus, El Arquitecto” is an up-tempo rocker before the song transitions to a snaky bass line and a quiet, trippy section appears which then leads to a mid-tempo pace with dirty slide guitar. Pretty cool. The band’s cover of Metallica’s “The Four Horseman” to end the album is very well done. This version is fuzzed up with more beef and slowed done, kind of like a Black Sabbath Master of Reality groove. The CD also includes video clips for Astroqueen (“Crashlander”) and Buffalo (“Jesus, El Arquitecto”). On the whole, Astroqueen vs. Buffalo is a decent stoner rock release |
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Astroqueen Vs. Buffalo - Split
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http://www.noiseweb.com.ar/CDS.htm#Buffalo
Por Pablo Fernández
Crudo. Sonido crudo es lo que ofrece este split de los europeos Astroqueen y los criollos Buffalo. Los primeros se despachan con seis temas que mezclan el rock de garage con ritmos más pesados matizados con bases entrecortadas como en el tema "Crashlander". Quizás lo que más los acerque a Buffalo es la clara influencia de Metallica. Sobre todo en las voces.
En el disco que viene muy bien presentando con un booklet en buen papel e incluye un video de cada banda se puede ver la evolución de Buffalo desde el pasado que los emparentaba más con el stoner hacia nuevos rumbos.
En este split la banda se acerca más al metal sin abandonar su costado rutero. Y me parece más que valido, y por eso me gusto más el material de Buffalo que el de Astroqueen, seguir haciendo letras en castellano y lograr que el tema no pierda onda y groove. A diferencia de su primer disco "Temporada de Huracanes" los cinco temas cortados para este split no tienen estribillos pegajosos como sucedía con "Río Arriba" pero sin embargo no decepcionará a los antiguos fans y a quienes se acerquen a la propuesta del legendario Pastor Filadoro y su banda. La única crítica para hacerles es que algunos riffs se parecen mucho a los del primer disco. El tema más raro en su composición es "Tormento" cortito y efectivo.
Ah, como yapa la banda toca "The Four Horsemen" para que le muestres a tu amiguito que lindo cover tenés en tu discoteca. Igualmente Buffalo es de esas bandas que son para experimentar en vivo. Hacelo y me agradecerás. |
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| DRAGONAUTA |
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Abdullah Dragonauta Split Reviews
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REVIEW AT FREE TIMES (OHIO)
Demonstrating the near-universal appeal of heavy metal, especially in South America, Cleveland’s Abdullah shares space on this split CD on an Argentinian label with Argentinian doom metal band Dragonauta. In its six years together, Abdullah has assayed many styles of metal, ranging from stoner sludge to soaring ’80s-style power metal. The six tracks on this disc show how the band in recent years has started to pull these styles together into a coherent musical statement that’s both heavy and melodic while avoiding the whisper-to-a-scream clichés of contemporary nü-metal. Its rhythm section is deliberate without being excessively plodding, and melody threads through tracks like the spacious “Seven Floors,” linking diverse sections into a flowing whole. Some hardcore metal fans might find “Brightest Day” a bit too anthemic for their taste, veering into Incubus territory. But they should be drawn back by the high-speed molten thrash of “Killing for Culture.” The five roiling, groove-laden, Spanish-language tracks by Dragonauta are worth checking out as well.
REVIEW AT UNDERDOGMA
Abdullah's songs continue in the bleak, dark vein of their previous releases. Forget the psychedelic and progressive passages of Dragonauta's last release Luciferatu. This time they go more downtuned and step a little harder on the gas pedal. Although they turned a little more heavy on this one, the outstanding instrumentation is still there.
REVIEW AT PSYCHEDOOMELIC
This CD features 6 songs from doom rock masters ABDULLAH. Witness the full spectrum of ABDULLAH's melodic heaviness, great groove, great vocals all the way, closing their part of the CD with the 6-minute "With Guilt", soon to be a classic. Great to hear new stuff from this fantastic band. DRAGONAUTA recorded three new songs for this split which also features two live recordings ("Tomegapentagram" and an incredible version of "Bruta Vu").
CHAOS REALM
I’ve been a big fan of Ohio’s ABDULLAH ever since I saw ‘em at Doomsday in Towson, MD in 2001. Over 2 albums & some demos since then, they’ve taken a sound not unlike a doom-laden Galactic Cowboys & expanded it into a melodic vision of darkness merged with NWOBHM leanings that nigh on defies description. Led by the awesome mid-range vox of Jeff Shirilla, they continue this exponential growth here. Expressing doom with layers of melody, they also infuse everything from early Diamond Head to punk/death-like aggression. 6 songs with enough depth to come off as a near-full-length effort, they lead into 5 numbers by Argentina’s DRAGONAUTA. My first experience with this 5-piece is quite a good one also. Roll “Red”-era Crimson, the first couple Sab 4 outings, Witchfynde & ‘70’s heavy prog into a ball with some top-shelf death & it comes out in cuts like “Revolucion Luceferiana.” Surprisingly extensive & melodic lead guitar work pervades the proceedings & completes this package just teaming with value!
REVIEW AT AQUARIUS
We last heard from Sabbathy stoner rockers Abdullah back in 2002, when the Ohio-based quintet released their second album, Graveyard Poetry. Now they've reappeared on this split release in the company of Argentinian weirdos Dragonauta, whose previous full-length Luciferatu was justly celebrated 'round these parts when it came out last year. Celebrated by those of us at AQ who like eccentric, proggy doom metal, that is! It's nice to hear something new from both bands, and although they take differing approaches to the stoner/doom style, they both have a love of Black Sabbath in common and also aren't afraid to be, well, a bit different (in very different ways, we should add).
Abdullah serve up six new tracks of moody, dynamic rock/metal with what we've described before as having somewhat of a "grunge" flavor. But Abdullah are much darker and heavier than the average Seattle band of the '90s... For fans of Down, CoC (circa Blind or Deliverance), Alice In Chains, and Acid Bath, we'd venture to say.
After the relatively mainstream and melodic Abdullah, Dragonauta seem even less "normal" than they already are (aren't?). They offer three new studio cuts and two live tracks, all of 'em being creaky, spreaky, riff-freaked workouts marked by fat psychedelic guitar noodle and raspy, strangulated Spanish-language vocals. From headbanging gallop to mellow jazz chords, Dragonauta take their compositions to various unexpected extremes, wild-eyed and drunkenly metallic at all times (except for when they're not). They're a bit like Los Natas but with even more of a 'we're crazy and we don't give a damn, let's play!' attitude. As far as we're concerned, they're the main reason to get this split, even though we like the Abdullah stuff ok too. But Dragonauta are just plumb loco and that really floats our boat in their moat. |
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Dragonauta "Luciferatu"
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http://www.metal4all.net/
Puntaje: 7,5.
Doom de la vieja escuela hecho en argentina. Dragonauta están compuestos por Daniel Libedinsky (Guitarra), Martín Méndez (Bajo ), Ariel Solito (batería) y Federico Wolman a las voces.
El estilo de Dragonauta es difícil de definir aunque de primeras, como ya dije, lo primero que se te viene a la cabeza es el doom. Esto ocurre porque Dragonauta se encuentran en la delgada línea que separa el doom del stoner. Ellos mismos aseguran que, aunque en un principio, su idea era la de hace doom a la vieja usanza, basada en los primeros discos de Black Sabbath, en Pentagram, The Obssesed o Saint Vitus, poco a poco han ido roquerizando su sonido (algo que se nota mucho en los solos) y añadiéndole algunos elementos progresivos.
Todo esto que expongo queda patente desde el primer corte, “Bruta-Vu(Hijo del diablo)”, con un breve pasaje instrumental que da paso a un riff muy pesado y a la desgañitada voz de Federico Wolman (cantando así cuesta pensar que es bioquímico de profesión). La canción concluye con un pasaje instrumental muy propio del stoner, de ahí el que haya enfatizado en las primeras líneas de esta crítica esa leve separación que hay a veces entre ambos estilos. Tras el primer corte, sin duda el de mayor gancho de todo el disco, viene “ToMegaPentagram”, de ritmo mas pausado pero de las mismas características que la anterior y de, en definitiva, todo el disco. Así, hay bastantes momentos interesantes como el tercer corte “Vidrio Negro”, que empieza con una larga parte instrumental en clave de jazz tras el que aparece de nuevo un riff muy pesado. Excelentes también las guitarras dobladas en este tema y ese final a modo de guitarra española que da paso de nuevo a un riff y a Federico Wolman recitando en castellano. Curioso aspecto este último pues según que canción Federico usa el inglés o el castellano, obviamente, solo hay que echarle un vistazo a los títulos para adivinar que idioma usa en cada tema. Terminando con “Vidrio Negro”, hay que decir que es el tema más, relativamente, accesible del disco. “The Superchrist” posee infinidad de cambios de ritmo que hacen de él un tema muy dinámico. “Antología de un Hombre Santo” nos da muestras de ese ramalazo psicodélico tan atractivo del que gozan algunos de las canciones de Dragonauta. “Powerchild” se mantiene fiel al doom, sin dejarse atraer por desvaríos instrumentales. En “Funeral Mágico” hay más de lo mismo pero con la novedad de Federico Wolman susurrando en gran parte de la canción. “NJG” cierra el álbum de forma pesada y entrecortada, siendo como una especie de despedida, y claro está, constituyendo el corte de menos valor del álbum.
Grata sorpresa la de esta banda, sobre todo viniendo de Argentina, donde escasean de forma alarmante bandas de este tipo que puedan dar lugar a una escena doom o stoner en condiciones. Por eso, y por la innegable calidad que atesora el disco, Dragonauta merecen que les de una oportunidad. Yo lo he hecho, y doy fe que no defraudan. |
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Dragonauta "Luciferatu" (THE NEGATIVE REVIEW!)
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www.metaljudgement.com
On a different day, Dragonauta might have not bored me to tears. This is not the day. Right now what I need is something louder and heavier than a stampede of elephants. This is more like a stampede of snails, and my patience is getting thin. Dragonauta is a Doom metal band from Argentina, and I use both terms lightly. This is neither depressing nor very heavy, and in fact seems to take more influences from psychedelic rock than anything. They also seem to have confused elevator music with jazz, which you come across quite a few times on this album. Yes I know, elevator music in metal? You read correctly my friends, elevator jazz, exciting isn't it? Note to self: never use this band in arguments that Doom is not boring. On top of all this, the vocals have a strong, and annoying, Spanish accent. Maybe it is just my mood so I will be the nice guy and give them two skulls. In return I do expect some top Argentinean drugs. Obviously this is one band who would know all about that type of thing.
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Dragonauta - Luciferatu
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http://www.brainticket.com/catalog/mtl_al.htm
Hidden deep in South America we find the likes of Dragonauta. If you heard the split from a few years ago – forget it and check this baby out. Adventurous forays into doom heavy sound with much improved vocal delivery, some jazzed out elements, ethnic feel splashed in and wrapped around a much heavier sound than their debut. Quality shit here mate – and especially for those that like to taste a bit of variety in their heavy/stoner/doom pot stew! |
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Dragonauta - Luciferatu
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http://www.underdogma.com/default.asp?alpha=D&ntype_id=59
Central America's doom-wielders supreme! Old School blues-based doom with monstrously progessive twists. These dudes live and breathe the doom, so you know it's got to be good! Includes 19 minutes of bonus video footage of the band in action! |
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Dragonauta - Luciferatu
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http://www.chroniclesofchaos.com/Articles.aspx?id=2-3571
by: Todd DePalma (6 out of 10)
Boasting a reputation as Argentina's first doom band, Dragonauta effectively reproduce the late '60s / '70s "jam" sound, channeling the first Black Sabbath record or even Jimi Hendrix integrated with jazz rhythm and Spanish guitar. The "doom" aspect of this record is lacking in spots; it shares more kinship with the "stoner rock" sound -- that starry, foot dragging vibe. Not so much a feeling of darkness though the bridge seems to be a lax interest in the occult. The album opens with an upbeat rock riff (and plenty of unmerciful cowbell) before gassing out into an excellent limbo of softly stepping drums and bass, with clean but thick guitars that levitate like fat hummingbirds in stale air. The only real downer on this record (besides the vocals, which sound more appropriate for a speed metal outfit) is the lack of follow-through in songwriting that surrounds these evocative moments.
Though able to conjure up moods that are nostalgic and at times unique, Dragonauta are lacking in their ability to deliver strong riffs in combination with the shapeless jam-rock atmosphere the way their idols did, creating potholes of trite sound along the way. And at times a dead end: "Funeral Magico" is an example where the band works completely off the Sabbath blueprint -- no less than their self-titled classic song. The problem here isn't that it's hardly original, but that it doesn't build to nearly the same dynamic climax, leaving the listener with no release of the tension that builds throughout the entire song. If you're going to imitate to this degree already, you better go all the fucking way. Still, _Luciferatu_ is a neat cut across the spectrum from the cult of downtuned overdrive lords like Electric Wizard and Sleep; for retro enthusiasts the laid back, drifting vibe and variation this album is saturated in is ultimately it's main attractive quality and should appeal to fiends of both persuasions.
This CD also contains a CD-ROM video file of live footage and interviews with the band.
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| JESUS
MARTYR |
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REPORTAJE A JESUS MARTYR
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http://www.noiseweb.com.ar/Entrevistas.htm#JM
Imaginen que tienen una banda y se dice que ustedes pueden ser los próximos Sepultura cuando sacan su disco en 1998. Bueno ahora imaginense que después de muchos cambios de formación e idas y vueltas graban un disco y no les gusta y deciden desecharlo. Ok, ahora imaginen que estàn por grabar EL disco y se les va un miembro fundador. Bien, ahora la parte más dificil: piensen que sacan un disco donde suenan mejor que nunca. ¿Les parece imposible? Con ustedes Jesus Martyr.
LEER MAS: http://www.noiseweb.com.ar/Entrevistas.htm#JM |
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REPORTAJE A JESUS MARTYR
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http://www.metalvox.com.br/entrevistajesusmartyr2.asp
The excuse was the releasing of TheJesusMartyr, successor of the excellent Sudamerican Porno and also to know more about the return of "the more brutal" band than gave the Argentinean metal. Of this and more we spoke with Martin Furia (guitar) and this it is the result.
1 - Before nothing, congratulations for the disc...
Martin Furia (g) - Thank you very much, cheers to us that you like!
2 - The return couldn't be better: new disc, new line-up and (in my opinion), a very good sound. How occurred everything?
Martin - This was 5 years of a pile of changes in all the senses, formation, our heads, etc. It was good and luckily we could reflect all that in a disc. Today we are band united, compact, that knows what wants and with desire of acroos the way that tocuh us that is large and goodness, we play the music that we like, we enjoyed to leave to touch by all sides and the band sounds powerful, that we can request...
READ MORE: http://www.metalvox.com.br/entrevistajesusmartyr2.asp |
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REPORTAJE A JESUS MARTYR
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http://www.metallerium.com/entrevistas/entrevista72.html
Después de un lapso de más de cinco años de suspenso creativo, una de las bandas más originales y pujantes de la escena pesada argentina vuelve de la mano de su segunda producción discográfica, "The Jesusmartyr"
Jesus Martyr tiene la música, las letras, la personalidad y la experiencia necesarias para triunfar, y se posicionan como una alternativa viable de proyección internacional que aspira a llevarse todo por delante; solamente les queda demostrar mediante su música lo que tienen para ofrecer, y de esa manera romper las limitaciones que implica ser una banda latinoamericana. Pero claro, no sólo de estas cuestiones hablámos con Martin Furia, líder y guitarrista de Jesus Martyr.
LEER MAS: http://www.metallerium.com/entrevistas/entrevista72.html
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Jesus Martyr "The Jesus Martyr"
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http://www.reuxmagazine.net/esp/altovoltaje_amp.php?id=29
Por Gustavo Piccini
“A recuperar el terreno perdido”. Pareciera ser ésta la frase que mejor le calza a la realidad de JESUS MARTYR en este momento.
Con nuevo disco bajo el brazo, nuevo hombre tras los parches (nada menos que MARCELO CASTRO ex A.N.I.M.A.L y RITUAL), nuevo sello (Días de Garage Records) y esperanza renovada, la banda argentina de exportación en la década pasada (¿y por que no de aquí en mas?) se apresta a tomar el toro por las astas y “volar cabezas”, así nomás.
¿Estas preparado para ello? Por si aún no te percataste, el cuarteto te tomara por asalto con “bombas” de puro thrash y metal extremo como son ‘Fire To Burn’ (¿el mejor tema en la historia de JESUS?…puede ser), ‘Manhunt’ (muy cercano al sonido SOULFLY/MACHINE HEAD) o ‘In Blood We Trust’, tal vez el mas “veloz” y visceral de “Thejesusmartyr”.
Musicalmente siguen siendo “extremos”, aunque con un mayor acento en los pasajes mas calmos, donde impregnan esa característica ya instaurada de utilizar voces limpias (y lo mas melódicas posibles) para dar un toque “futurista” a la atmósfera de la canción y el álbum en general.
JESUS MARTYR retoma lo hecho anteriormente y lo lleva su carrera un paso adelante con un disco “compacto”. Sí, tremendamente compacto. |
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Jesus Martyr "The Jesus Martyr"
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http://www.elacople.com/cdgrande/comentarios.php?id=97
Por Yesica Strano
El tiempo pasó y las cosas cambiaron, pero JESUS MARTYR volvió y puede partirte la cabeza si estás preparado para ello. Siete años después del gran debut discográfico que marcó “Sudamerican Porno”, la banda edita su nueva placa titulada “The Jesusmartyr” por del sello “Días de Garage”.
Con la presencia de MARCELO CASTRO (ex A.N.I.M.A.L.) tras los parches y la personalidad y experiencia del resto del grupo, el cuarteto está listo para recuperar el terreno perdido. El disco contiene doce temas de metal extremo, thrash, y una brisa futurista (se notan, muy a lo lejos, influencias de SOULFLY y MACHINE HEAD, sobre todo en la canción “Manhunt”). Algunos tienen voces limpias y hacen hincapié en la melodía como “Rebelión Inca”, y otros son más podridos y veloces como “Fire to burn”,“Domino Fall” e “In Blood We Trust”. El sonido es bueno, prolijo y tiene fuerza. Buen regreso de la mano de un buen disco, esperemos que el futuro sea mucho mejor aún y JESUS MARTYR recupere el lugar que alguna vez ocupó. |
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JESUS MARTYR "The Jesus Martyr" Días De Garage
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http://www.noiseweb.com.ar/
Por Pablo Fernández
Escuchen este disco. Si te gusta la música pesada escucha este disco. Así de simple. Después podrás opinar pero es bueno saber que esto se puede hacer por estas pampas y con buena calidad.
Ahora volviendo el tiempo atrás muchos (los que ya pasaron los 20 sobretodo) recordaran que allá por 1998 la banda sacó Sudamerican Porno un disco muy en la vena de Fear Factory y que para Argentina parecía casi adelantado a su tiempo. Sin embargo fueron creciendo en publico e inclusive cruzaron el, gran, charco para girar por Europa. Pero JM desapareció para todos esos fans y solo algunos se enteraban de sus cada vez más esporádicos shows (más data en sección "notas"). Después de varias idas y vueltas la banda logró grabar su nuevo disco con solo dos integrantes de los de aquella formación "famosa": Martín Furia y Bruno Nasute.
Pero, pese a lo que uno pudiese haber imaginado, The Jesus Martyr es un discazo de esos que sirven para salir a la calle con las pilas puestas en un día que queres llevarte todo por delante. El disco está siempre con la guardia en alto salvo en algún que otro medio tiempo y temas más "melódicos" como "Rebelión Inca". "Fire to burn","Domino fall" e "In blood we trust" se destacan por su violencia y cambios de marcha. Vale aclarar que entró a la banda Marcelo Castro que podría ser llamado el Sr. Doble Bombo.
Así la banda tiene todos los frentes cubiertos con un buen sonido de violas (mezcla de escuela sueca y lo que ahora se conoce como New Wave of American Heavy Metal) y un bajo casi ausente pero que es perdonado porque su ejecutante Bruno Nasute no nos hace extrañar al ex cantante. Lo que no es poco.
Jesus Martyr volvió con todo. Sino los escuchas, te los perdés. Está bueno que hayan sobrevivido a tantas crisis internas. Ojala sigan dando discos como este por varios años. |
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JESUS MARTYR "The Jesus Martyr" Días De Garage
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Rock Brigade - Por Exequiel Nuñez
Puntaje: 8,0
Jesus Martyr fueron catalogados por la prensa y el público como una de las promesas metálicas locales, con calidad de exportación, allá por 1999. Interminables cambios de alineación llevaron a que ese empuje se diluyera, con la disminución de los recitales y la ausencia de un sucesor del impactante debut Sudamerican Porno. Hace cosa de tres años atrás tenían listo un nuevo álbum (Pampa Awaken iba a ser el título), donde se podía apreciar un enfoque más agresivo, casi de death metal. Aunque finalmente (y tras algunos cambios más de integrantes), dieron forma a The Jesus Martyr, que no deja de ser altamente brutal, adicionado con la presencia de abundantes momentos melódicos. Los teclados a lo Strapping Young Lad/Fear Factory desaparecieron de las composiciones, lo cual no quiere decir que entre los quebrados riffs se cuelen diversos climas. Hay lugar asimismo para el groove nü-metalero a lo Slipknot (el baterista Marcelo Castro, ex A.N.I.M.A.L., sabe aprovechar esos ritmos), y la variedad vocal presentada (coros - bien - entonados junto a los gritos rasgados) crea un logrado contraste con los beligerantes machaques. La espera valió la pena, regresaron los auténticos tiempos violentos. |
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The Jesusmartyr – The Jesusmartyr (Dias De Garage)
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Review by Scott Alisoglu http://www.live4metal.com/
It’s been a long while since I reviewed a CD from Argentina’s Dias De Garage label; if I remember correctly, it was Buffalo’s last release. When it’s a metal band from South America, I don’t expect to be disappointed. The continent seems to breed metal heads. Still, my first spin of The Jesusmartyr left me uninspired. I heard down-tuned Machine Head and latter-day Sepultura riffs and rhythms, moments of Fear Factory (mainly some of the clean/spacey vocals), and touches of current-day Pissing Razors (vocal style, some of the tempos), but didn’t have a strong opinion one way or the other. This is why reviewers should make an attempt to listen to albums more than once. The environmental context and
one’s state-of-mind can have a big impact. Having spent more time with the album, I can now say that it consists of 12 tunes of decent quality that while not original are well played and quite memorable. Plus, it’s not like this is a brand new band. The Jesusmartyr got started in 1994 using the name Martyr, and at some pointed decided that it’s not exactly an uncommon band name. The band even did two tours of Europe, the second a 35-date independently booked one in 2000; that ain’t easy, folks. As I alluded to earlier, many of the tunes utilize that rubbery down-tuned sound and semi-bouncy rhythms that you’ll hear from Machine Head and Sepultura. Depending on your mood, it can either induce head banging or get on your nerves; in my case, it was usually the former. The Pissing Razors comparison (Evolution specifically) comes largely from hard-drivers like “Tomorrow” (and the chorus of “Fuck tomorrow!”). The melodic clean vocal sections usually work and have nothing to do with emo and everything to do with Burton C. Bell. In short, the band knows how to pick the right places for the clean stuff so that flow is not interrupted. Those with a dislike for these aforementioned styles probably won’t like the album. Good songwriting that keeps momentum, rocks hard, and doesn’t get stale too quickly, as well as a strong mix, are the reasons the album generally succeeds. In a word: solid. |
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| SPLITS
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TRIBUTE TO KYUSS "Listen Without Distraction"
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Reviewed by John Pegoraro (StonerRock.com)
Show of hands, please. Who prefers remakes of movies? Sure, you can cite The Thing as a remake that improved upon the original, but by and large, most of the time what you’ve got is a pale imitation, watered down and missing the magic that made the original, well, ripe for a remake. Seriously, how can honestly say they liked the glossy, market-tested version of The Chainsaw Massacre more than Tobe Hooper’s macabre, unsettling film?
It’s not exactly the same, but the general principles do apply to tribute albums (live cover songs, though, are a different beast altogether and are exempt from criticism, unless the band in question sucks beyond all belief). And since tribute albums are for influential bands that helped shape entire genres of music - hence the noticeable absence of Get Stupified: A Tribute to Disturbed in your local record store - the bands brave/stupid enough to record their versions start off with a considerable handicap against them. Of course it’s going to suck. It’s not [band name]. It’s just a fucking tribute album.
And yet Listen Without Distraction acquits itself in the end. Is it the greatest collection of Kyuss songs ever assembled? No, that would be Sky Valley. Is it the greatest collection of Kyuss cover songs ever assembled? Well, seeing how it’s the only one, sure.
The majority of the Argentinean bands that appear on Listen Without Distraction (making this the best all-Argentinean tribute to Kyuss ever) stay close to the originals, with the differences being in production, technical ability, and singing styles. Avernal’s version of “Green Machine” substitutes the purr of John Garcia for a death metal roar, the acoustic “Love Has Passed Me By” takes on a more South American feel courtesy of Sendero Luminoso’s vocals, and a handful of bands aren’t nearly as tight as the band they seek to honor. That sort of thing.
Among those that bring another dimension to the songs are Superextra (“Space Cadet”), Sauron (“Phototropic,” which sounds like Kyuss done by a power metal band fronted by Joe Cocker), Sereen (“Supa Scoopa and Mighty Scoop”), and Regular Xon’s industrial run through “El Rodeo.” Others embellish the originals with additional instrumentation (such as organ on Sunferno’s “Gardenia”). Whether or not these variations work is up to the individual, and said individual’s reverence for Kyuss.
As with all albums of this nature, there are bound to be some clunkers (this version of “Spaceship Landing” just doesn’t work), and some of the covers are so workmanlike that they just don’t make an impression. But Listen Without Distraction isn’t about reinventing the wheel. It’s about paying homage to a band that helped form a distinct genre of music. And that’s something they did well.
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TRIBUTE TO KYUSS "Listen Without Distraction"
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http://www.doom-metal.com/reviews/va.html
Reviewed by: Kevin McHugh
I can think of few - if any - bands that have been more influential on our community than Kyuss. It’s a joke, really. They've influenced dozens, if not hundreds, of bands worldwide, especially in the stoner heyday of the late 90s. I mean, you've got your Sabbath, you've got your Spine of God, you've got your this, you've got your that.....but so often if comes back to Kyuss.
So it was all the more surprising when I read about 'Listen without Distraction' coming out, only to realize that nobody's ever done a Kyuss tribute before. Almost 10 years on, and never a tribute? It should have been done years ago, but maybe everyone felt a bit daunted by the idea. After all, can you imagine doing better versions of 'Demon Cleaner' or 'Gardenia' than the masters themselves did back in the 90s? I can't either, but I'm glad that Hugo at Dias de Garage had the balls to do it anyway. The funny thing is, knowing what little I do about the Kyuss boys, they'd probably be the last ones to view the group's output as a sacred cow, enshrined forever in the Halls of Heaviness. I imagine that they're as interested in hearing these interpretations as the rest of us.
Like any compilation, 'Listen without Distraction' is hit and miss. More hit than miss, definitely, but at least everyone gives their all, and whether the version is faithful to the original or not, there is always respect. My personal faves are Cygnus' 'Thumb,' Buffalo's 'Odyssey,' and Sunferno's 'Gardenia.' All are pretty faithful versions, although the last one has an organ to give the song a cool europrog sound. That's how it is on this sampler: even the covers that follow the originals most closely have their own twist, and some have a good deal more than that. Your three favourite cuts will undoubtedly be different than mine, which is cool. That's probably the way it should be.
It’s odd that it took a record label from the "bottom of the world" in Argentina to come up with this compilation of South American artists covering Kyuss songs. Props to them, sez I. The label already has two excellent releases under their belt (Dragonauta and Buffalo), so why not take the bull by the horns for their third release? After all, it’s good enough for Scott Reeder (just read the liner notes), so it’s got to be good enough for you and me, right? The real value in this is that hopefully it will encourage other, more prominent labels in other parts of the world to do the same thing. How about a doom compilation of Kyuss tracks? It’s all good, but in the end the best thing about it is that it inspires me to go back to my collection to listen to the originals again. |
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TRIBUTE TO KYUSS "Listen Without Distraction"
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http://www.kozmik-artifactz.com/katalog_reg_uz.htm
Das relativ Junge Label aus Argentinien, dessen erste beiden Veröffentlichungen die Alben von BUFFALO und DRAGONAUTA waren, wagt sich jetzt an einen KYUSS Tribute heran. 16 argentinische Bands versuchen sich an den KYUSS Klassikern. Ausser LOS NATAS und BUFFALO handelt es sich weitgehend um unbekannte Bands, die nicht ausschliesslich aus dem Heavy/Psych/Stoner Rock Lager kommen. Unter anderem ist auch eine Death Metal Band vertreten. Einen ersten Höreindruck kann man sich hier verschaffen:
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| New review: http://www.monolith.gr/reviews/html/bufallo01.html |
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Buffalo - Temporada de
Huracanes / Review by Rob Wrong / Source: www.stonerrock.com
For those that aren't familiar with Buffalo, it is headed up by former
Natas bassist Claudio and is a different ball of wax than that of Los
Natas to say the least...but you can tell where the roots are coming
from, or where they appeared before.
First off, this stuff is definitely a bit more Stoner Rock derivative
with it's desert riffs, classic rock hooks...all in all this CD is
full of one hard hitting song after another, digging in and never letting
up throughout.
Some of the music of Buffalo reminds me of Dozer with it's high energy
busy riffs and trucking rhythms throughout. You know that fuzzed out
guitars and heavy line after line of pounding goodness? It's all there
at times. Other times it's spatial with Pink Floyd 'Wish You Were Here/Animals'
era keyboard segments in between the longer structured songs.
Not that this album is all chalked up to 'sounding like Dozer' or early
Monster Magnet either, it's got some great experimental moments showing
that there is some connection between Natas and Buffalo and that the
influence is tracing over from the past. Vocals are all spoken in their
own language (Spanish) and really adds to the overall sound if you
ask me, I wish more bands would do this really.
All in all it's a good album with a great classic sound, tons of vintage
sounding effects and the production is above and beyond the call of
duty. Get this one if you like stuff that doesn't have a certain agenda
but definitely falls in the stoner/desert category.
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Buffalo - Temporada de Huracanes /
Source: www.hellridemusic.com
AHAHAAHA! A quote I just received from someone that
knows the band Buffalo very well... "If Natas is the
proof that there is a God and that he lives in Argentina,
Buffalo is the proof that Satan exists and he lives in
the same fuckin country!!!!" That knocked me off my
chair. Using my own lines against me and making me laugh
like a retardado.... muy malo.
Buffalo are indeed from Argentina and feature ex-Natas bassist Claudio
Filadoro, who writes the majority of songs on Temprada De Huracanes
and switches to guitar. If you're looking for Natas here, you're
largely gonna be disappointed. Where Natas mixes subtlety with panache,
Buffalo are less refined and more straight-foward. There are a few choice Fooz-like
Floyd-inspired moments here, but for the most part, Buffalo go straight
for the knockout punch.
Buffalo wears it's influences on it's sleeve... opener "Gracias" pays
an offhanded tribute to it's elder mentors... Sabbath, ZZ Top, Metallica,
Pink Floyd among others reside in this creative pantheon. The music is
full bore, stoned-to-the-gills rock n' roll sometimes bordering on heavy
fucking metal. Like Kill 'Em All-era Metallica tempered with a tuca'
and a fired-up on a fresh mate' or rawer Sabotage-era Sabbath in
Espanol. The Kyuss-connection also abounds in the unconventional approach
to heaviness; the lack of pretension and posturing, the odd tunings and
overall influence of a temperate climate on musical equipment and overall
attitude.
There's some anger in this music too... another result of climate this
time political and economic? Argentina is not in good shape these days.
I wonder what effect, if any, this has had on the music of Buffalo. Probably
none and I'll be guilty once again of talking out my ass.
Another nice bonus is the interactive stuff... bio, interview, some videos
and other assorted information compiled and directed by Mr. Filadoro himself.
Temprada De Huracanes is raw, honest and rocking. Not much more
to say than that. This will get many repeated listenings at the Barnes
compound. Make sure you hang out for the hidden acoustic track at the end... |
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Buffalo - Temporada De Huracanes /
Review by Scott / Source: www.live4metal.com
Argentina’s Buffalo came my way thanks to Hugo Garcia, editor of
South American print zine, Jedbangers. I’m not sure that Hugo realized
just how much I’d dig this slab of fuzzy stoner rock when he sent
it, but I’m glad it’s now in my hands. This is excellent stuff,
even if I couldn’t understand the Spanish lyrics. In addition to
a production that accentuates the rumbling bass and herb-enhanced riffing,
there are moments when the guitar leads make one think of space flight.
Let’s jump right in. "Gracias" (hey, I actually know what
that means) introduces us, presumably, to the bands that Buffalo worships.
It’s basically the sound of some guy playing snippets of everyone
from ZZ Top to Black Sabbath. "Rio
Arriba," and "Playa Tortuga" are simply ass kickers. We’re
talking balls-out rock and roll injected with the sweet smell of weed.
The guitar is often of the gonzo variety played through amplifiers that
never go lower than ten. "Entonces…" is a tripped out intergalactic
instrumental. "Pescando En La Marea" is rife with the sound of
Kyuss, complete with fuzz-tones and a ton of oozing sludge. "Angel
De Las Espinas" is pure stoner boogie that mixes fat riffs with rock
delirium. "Y Ahora" takes us back into atmospheric diddling with
keyboards and just plain weird noises. "Farm Road" is basically
the blues played after dropping acid; just strange shit man. A badass mid-90s
COC riff delivery is present on "Dormido Al Volante." The spiced
up filthy southern rock feel is perfect. Things don’t stop there,
as the band then throws in some cool tempo changes that plant you firmly
in stoner groove territory. The band’s sense of melody is strong,
the guitars are molten, the bass rumble is earth shaking, and the snap-crackle
of the drums is perfect. Maybe it was the multiple cans of Busch Light
I was drinking the afternoon I listened to it, but then again maybe this
stuff is supposed to be heard that way! As a whole, you get plenty of variety
with this one, but the rock never stops. |
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Buffalo - Temporada de Huracanes /
Source: www.stonerrockchick.com
T he roots of Buffalo can be traced throughout the Argentina stoner scene,
dating back to the release of the Natas/Dragonauta split, when bassist
Claudio parted ways with the band. Since then, Claudio has been busy
with his own creation, Sandiablo and in the process, culling Alfredo
Felitte (ex-Taura) and Javier Libreiro (ex-Stonerwitch) to create their
debut record for Dias De Garage Records entitled "Temporada de Hurracanes".
Being a huge fan of all these bands, I was thrilled Claudio sent me this
for review. This project should not be confused with Los Natas, as it
really stands apart as more of a rock record vs. Los Natas’ mellow
meandering guitar bliss. Although there are definite similarities, the
Buffalo sound is rather unique.
Buffalo flips through their tape collection on "Gracias", with
nods to Black Sabbath, the Misfits, ZZ Top and Metallica amongst others;
a good way to show off their influences and to prepare you for the smorgasboard
of rock that lies ahead. "El Peregrino" and "Rio Arriba" set
the energy level to Hermano-esque levels, quickly plowing through a mountain
of riffs to make way for the oceanic intro of "Playa Tortuga".
The tranquil sea sounds interspersed with the raw, passionate vocal work
make way for a great performance by rhythm masters Javier and Alfredo.
Claudio’s guitar acts as a double edged sword, both threatening
and serene at the same time, especially on the electronically flavoured "Entonces", "Y
Amora" and "Y La Lluvia Vendra" which boasts some wicked,
sci fi keyboard play and light, melodic guitar.
Buffalo shows some cool desert rock worship on "Pescando En La Marea" with
their thick, chunky riffs and soaring vocal work, that reminds me a lot
of Sweden’s "More-Kyuss-than-Kyuss" Lowrider. Although
Claudio goes off on a heavy, old school Metallica tangent on "Angel
De La Espinas" and "Dormido Al Volante" he tempers it
with some well crafted standout psyche styled guitar that really makes
these guys an interesting listen. "Rasante" is a true gem of
a track, showcasing all the band’s talents in one shot; the psyched
out guitar jam and the unsettling Spanish answering machine dialogue
that flow throughout work to add even more charm to this already mystical
band.
Over the years, I’ve found South American bands always seem to
possess a real genuine, indefinable honesty about their music, and Buffalo
is definitely no exception to that rule. Add "Season of The Hurricane" to
your shopping list, you won’t be disappointed. Now, if I only knew
how to speak Spanish…
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Buffalo - Temporada De Huracanes /
Rating: over the top / Source: www.daredevil.de
After Santoro and Natas the next big Stoner-Rock thing
from Argentina. No wonder, cause Argentina´s Heavy-Rock
master mind "El Pastor" (Natas) is involved
and lays down some of the most intense riffing I´ve heard
from him so far. Compared to Natas the music of Buffalo
is more intense and goes straight forward, ok...you can
hear the Natas touch sometimes, but all in all this album
stands for itself and if you like music in the vein of
Kyuss with a touch of Zakk Wylde and QOTSA you are at
the right adresse. I´ve played that baby loud and I was
blown away. I will do the dope test right now!!! |
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Buffalo - Temporada de Huracanes /
Source: www.peacedogman.com
There's just something about a band recording a metal
album in their native tongue...it creates an excitement primarily
because the focus is on the musical attack, not learning
a more commercially acceptable language for lyrics. Plus,
there's always that exotic flavor present in those import
rawwwk allbums...like that classic BARON ROJO stuff. Well,
this fiery red pepper from Argentina's BUFFALO is just such
an animal (no pun intended). While the basis of the grooves
contained herein seem firmly rooted in desertglory like early
FU MANCHU or QOTSA, the band's sound is far from contrived.
Great stuff like "Dormido Al Volantre" rockets
along like a marauding pirate ship with a haunting Latin
vibe. And the incredible battle between mortal man and torrential
feedback that makes up the guitar solo in the awesome "Angel
De Las Espinas" is almost beyond words. If you like
your '70s style riffage with some South American spice, this
may be the best thing for you since the Panama Canal. -Pat |
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Buffalo- Temporada de huracanes /
by Alessandro Zoppo / Source: www.perkele.it
La "brisa del desierto" continua a spirare in quel di Buenos
Aires ma questa volta assume l'odore acre della pioggia e prende forma
nel disco d'esordio dei Buffalo. "Temporada de huracanes" è infatti
la prima emissione partorita dalla mente di Claudio, ex membro dei favolosi
Natas, il quale in compagnia dei suoi vecchi compagni Alfredo (batteria)
e Javier (basso) ha dato vita ad un disco pulsante vitalità e freschezza,
proprio come un temporale che rinfresca l'aria pesante d'un giorno estivo.
Si tratta anche della prima release della neonata etichetta Dias de Garage,
come a voler affermare una precisa identità della scena argentina sia dal
punto di vista produttivo che compositivo. Quanto fatto sentire infatti
sembra una naturale prosecuzione del suono dei Natas, solo più appesantito,
grasso e arricchito di elementi robusti e viscerali nella migliore tradizione
passata (Black Sabbath, Led Zeppelin, Leafhound) e presente (Kyuss, Black
Label Society, Dozer). Brani come "El peregrino", "Rio arriba" e "Angel
de las espinas" mostrano vigore e potenza, integrati in una perfetta
essenza di hard rock, stoner e metal. Le chitarre di Claudio tritano riff
su riff, le sue melodie vocali sono amabili e suadenti, le ritmiche picchiano
selvaggiamente, specie il drumming di Alfredo, incessante e sempre vario.
Gli intermezzi radiofonici tra un pezzo e l'altro donano un tocco di stravaganza
a composizioni rocciose e ben definite, heavy psych nella sua migliore
forma insomma, non c'è che dire…
Così, anche quando puntano su una maggiore varietà stilistica, i Buffalo
tirano fuori dal cilindro splendidi episodi come "Sed de tormentas",
degno dei migliori Queens Of The Stone Age, o "Pescando en la marea",
uragano di fuzz guitars così fitte da levare il respiro. Altrove invece
emergono variazioni di raffinata psichedelia ("Entonces…", "Y
ahora", la conclusiva "Rasante") che giocano su cadenze "pinkfloydiane" e
sapori latini.
Come se tutto questo non bastasse il cd è completato da una ricca sezione
multimediale che comprende video, foto e testi. Cosa aspettate allora,
fate vostro questo disco ed immergetevi nella libertà che solo le atmosfere
della Pampa sanno dare… |
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Buffalo - Temporada de Huracanes /
Source: Cosmic Lava!
Outside, there's summer, it's hot as hell and I'm listening for the fifth
time to the debut of Argentines own BUFFALO (don't be confused with the
semi-legendary Australian heavy-weights Buffalo). The band was formed by
Claudio "El Pastor" Rimec, who formerly played with (Los) Natas.
In long time friend and drummer Alfredo Felitte (ex-Taura) and bassplayer
Javier Libreiro (ex-Stonerwitch), he had found a tight and precise rythm-section
and at the end of 2002, BUFFALO recorded their first album "Temporada
De Huracanes", and it's the first release of the new Argentinean label
Dias de Garage Records. This album is the perfect soundtrack for a brutal
hot summer and in opposite to (Los) Natas, BUFFALO are playing hard-driven
straight forward heavy 70's metal blues rock. This isn't the kind of typical
heavy fuzz rock, that are lot of bands are playing today, which bores the
shit out of me. What makes this band to something special is the amount
of heavy ripping riffs, great and solid hooklines, different tempo-changes
and the native vocals. This trio is really a powertrio in the truest meaning
of the word, and they definitely R-O-C-K!!! Sometimes, they slow down and
add a few psychedelic parts, but in opposite to (Los) Natas they are far
away from the Kyuss and hard-prog road. The dry and pure production is
perfect for their sound and the album, that contains 14 songs, comes up
with a lot of additional bonus material, like two videos, one live video,
interview sequences with "El Pastor" and much more, what simply
makes "Temporade De Huracanes" more interesting for you, apart
of the strong song material. |
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Buffalo - Temporada de Huracanes /
By Scott Heller / Source: www.aural-innovations.com
The band was formed by Claudio, formerly of the band
Natas (who will tour Europe for the first time in Oct-Novmber
2003). After starting and working with several different
projects, he decided to go back to the roots and create
some real stoner rock with 70's influences. The CD opens
with a guy getting in a car and the cassette has Lovehunter
by Whitesnake and then he switches to Sabbath and finally
ZZ TOP and another tape has Metallica and then finally
the band kicks in and the volume and sound hit you. Quite
a cool way to open the CD. The sound is very thick and
you can tell Claudio did not lose his love for Kyuss. The
songs are mostly all sung in Spanish, which is cool. I
quite like the production quality as it fits the down and
dirty heavy rock grooves the band create. The band mix
up the CD with small tracks of radio stuff, phone calls,
a country blues tune ("Farm Song") and even an
ambient piece "Y Ahora", so you are not just
blasted full on for 45 minutes. The last song on the CD, "Restante",
is great. It is listed at 14 minutes but ends around 8
and then around 10 the band perform an acoustic song. This
is a really great experimental, psychedelic number showing
a different side of the band. I was quite impressed with
the CD's music and look forward to the next CD. Good stuff!
The CD has a multimedia section on the end with a video from some live
gigs and interviews in Spanish with English subtitles and most of the stuff
from the web site as well. Very nice addition! |
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Buffalo - Temporada de Huracanes /
Source: www.sleazegrinder.com
Unless you’re a rock journalist with a spooky
backlog of CD's to review and half an afternoon to do them
in, you really shouldn’t be listening to a band like
Buffalo on a computer anyway- you should be listening to
them in your beat-up van doing 80, or deep in the woods
with a bunch of heavy friends and a case of something cheap,
or at the local dive bar while you hit on el bonita chicas.
I’m mentioning this now because "Temporada De
Huracanes" is one of the jive CD ROMs with the bios
and videos and all, and, besides not even playing right,
it’s pretty much frozen everything on my PC besides
the words I’m currently typing. So, Caveat Emptor,
citizen.
That being said, and having switched the disc to a standby ghetto blaster,
and having already gone and tossed a Latin phrase into the mix, I suppose
it’s high time to mention that Buffalo are a Latin American riff
rock band. Hailing from Argentina and singing in their native tongue, Buffalo
are obviously going to be compared to their doom-fried countrymen Natas,
and since this crew was formed by ex-Natas bass player Claudio Filadoro,
that’s not an unreasonable comparison. But while Natas actually sound
like Machete wielding high priests tromping through the jungle astride
giant black lizards, Buffalo are content to just sound like a fuckin’ rock
and roll band, one that digs early Sabbath, earlier Metallica, and any
boogie metal band from Texas you can think of. Easy and breezy, Buffalo’s
debut is a solid rocker of wavering heat and thunderous groove. Desea vivo
el gran búfalo. Now, if I could just get their goddamn logo off of my computer
screen... |
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Buffalo - Temporada de Huracanes /
Rate: 11/13 / Source: www.monolith.gr
"Not to be confused with the 70's Aussie psyched hard rockers that went
by the same name; this Buffalo arrives from Argentina and steps over everything
that gets in its way. Buffalo feature x-Natas bassist, Claudio. Actually it’s
his baby, at least for the starting part since he had already written the songs
included in "Temporada De Huracanes" before finding his band mates.
Only he has now switched to guitar and singing while Javier handles the bass
duties and Alfredo bangs the drums.
The CD starts off with "Gracias", where the band pays homage
to their music heroes. It’s a dude playing cassettes (remember those?)
of Sabbath, Misfits, Metallica, well you get the picture. This intro is
pretty descriptive of the way Buffalo approach music. Straight in your
face heavy rock storms, one after the other with only a few short mellower
breaks to catch your breath. It’s the season of hurricanes after
all and Buffalo strike with such intensity. The comparison to Natas music
ends with Claudio being an x-member and his lyrics sung in Spanish. But
while Los Natas take the route for long mind-altering trips, Buffalo is
an electrified power trio that unleashes tones of energy through dynamic
compositions like "El Peregrino", "Angel De Las Espinas",
the metallic "Dormido Al Volante" or my favorite "Rasante".
Argentina has a rich heavy rock past. With records such as this it seems
that it has a great future as well. Viva!
PS: "Temporada De Huracanes" comes in an enhanced format with
lots of cool extra stuff like videos of interviews and live performances,
info, photos and lyrics. |
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Buffalo - Temporada de Huracanes /
Source: www.stricke.com
Buffalo is refreshing indeed, pop it in your player
and be amazed. Anyone who's expecting some sound of recognition
from ex-Los Natas bass player claudio is seriously ripped
off. Buffalo is a mix of ALLOT of shit but in my opinion
maybe even most from Neurosis, Manowar, Eye Hate God & Carcass.
True metal with elements from progressive metal(keyboards!)
with some straight up hard rock. "Rio Arriba" could
be ripped from any Manowar album straight into the buffalo
sound. Though there's allot of recognition points in the
music the band has their own style, and own sound. It's
pretty confusing trying to stick a style/label on these
guys, with the variety of things to consider, but perhaps
we should just enjoy this trio from argentina. my favorites
would be "Gracias", "rio arriba", "kim" & "Y
Ahora". |
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| DRAGONAUTA
REVIEWS |
| New reviews: Metal
Rules | Metal
Judgment | Pit
Riff |
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Dragonauta - Luciferatu / Source: www.pitriff.com
I have written a couple of hundred reviews over the last few years,
and I can honestly say that I have never received a CD that was harder
to describe or classify than this one. I have had it in my possession
for well over a month and have spun it dozens of times hoping that
a clear cut way to review it would materialize in my head, but that
just hasn't happened. So rather than continue to wait for that to happen
I have decided to just wade into the pool and sink or swim.
DRAGONAUTA hail from Argentina and have thrown together some very divergent
styles to create a very odd album. I know odd sounds negative, but
the album has grown on me over time. I guess to begin to classify the
band I would say that they play doom metal, but from there you have
to mix in some influences from late 60's psychedelia, some Pink Floyd
like interludes, and some light jazz. Now maybe that doesn't sound
appetizing, but these guys do a decent job of combining all these styles
into an interesting package. Half of the albums 8 tracks are sung in
Spanish, but that really doesn't create a problem because the English
tracks are not very distinguishable lyric-wise. Singer Federico Wolman
employs an almost death metal growl in either language. The body of
each song is fairly straight forward doom metal done rather well and
at times I found myself wishing they would allow a groove to take hold
and grow, but instead these stretches are broken up by the psychedelic
and Floyd like interludes I mentioned earlier. These interludes do
showcase that the band has some skills that stretch beyond your basic
doom sludge. Most notably is the work of guitarist Daniel Libedinsky,
who can at times be quite intricate, if not downright melodic. How
often can you say that about a band that calls itself doom metallers?
As for the songs themselves, there are some good tracks here. For the
most part though I would say that none stand out, and I say that because
they tend to all blend together and make for one long experience. Each
song starts off with a different kind of opening that would probably
make it unique, but since there are interludes within each song you
lose track of what song you are listening to throughout the disc. I
finally decided that to judge the songs individually would be too difficult
and settled on grading it as one long single track. Based on that criteria
I can say that I honestly enjoyed the disc, even with all its peculiarities.
PITRIFF RATING - 7/10 - Well looking back over this review now I am
still not sure I am adequately describing what a listener might expect
to find on Luciferatu. Maybe I am just trying to attach too much meaning
to it, stranger things have happened. I can say that I recommend the
album, it truly isn't just a carbon copy of better albums from bands
like BLACK SABBATH, WITCHFINDER GENERAL, or CATHEDRAL.
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Dragonauta - Luciferatu / by Kevin
McHugh / Source: www.Doom-metal.com
Argentina's Dragonauta has made an astonishing doom album,
a set o'tuneage that refuses to be hidebound into received
ideas of what "true" or "real" doom really
is. These dudes have incorporated their record collector backgrounds
and wedded them to their love of doom to create
something that is uniquely theirs. This is, after all, what great musicians
do, and it's part of what keeps our music community vital and creative.
In the interest of maintaining that all-important writer/reader trust,
I should disclose to you that I've been corresponding with vocalist Federico
Wolman for about 3 years now. I was the first person outside Argentina
to score a copy of their Sabbathy demo, which was later reworked and included
on a split with Natas. I also have an unreleased demo from a couple of
years ago, which indicated even then that Dragonauta was not going to sit
on it's Sabbath for very long. Anyway, Federico is a man of the highest
integrity; it would give him the horrors to think that our friendship would
affect this review.
In fact, if anything it raises the bar. In the interest of being fair,
I may have been harder on this album than on some unsolicited disc I received
in the mail. No matter, because even under a rather severe version of the
critic's microscope this album smokes the doom, working its juju until
you're addicted enough to play it daily. At least, that's how its been
for me. The album is best characterized as progressive doom, with long
songs mixing in every genre from blues to psychedelia to metal to doom
to stoner to jazz to flamenco, for God's sake. The astute listener will
pick out shards of better-known bandslike King Crimson and Sabbath, combined
with early 70s Argentinian music made by the likes of Vox Dei or El Reloj.
'Bruta-Vu/Hijo del Diablo' is a good portrait of tuneage to come. Its characterized
by Federico's powerful, rough yet melodic vocals, which sound like Tom
Warrior wrestling Dave Sherman with Lee Dorrian officiating, mixed into
a 5-alarm stew of progressive metal, complete with
lots of rhythmic changeups, hot guitar leads, and let's not forget some
tasty cowbell. Whew. The pagan 'TomegaPentagram' has some nice guitar reverb
reminiscent of that early prog sound, while 'Vidreo Negro' is quite jazzy,
with a flamenco guitar outro. 'Anthologia de un Hombre Santo'
kicks it old school with an extended drum solo from Ariel Salito straight
from your favorite 70s stadium show, while 'N.I.G.' is the doomiest track
of all.
Despite the many and varied influences, there's no doubt that this is a
top-flight doom album. You can tell these guys toke the magic and practice,
practice, practice! There's no substitution of attitude for ability here;
Dragonauta has earned every doomed note of this album with sweat, knowledge,
and chops. If you've heard the split with Natas then be prepared, because
this band has developed far beyond the Sabbathisms of yore. And don't forget
to check out the Hellhound-label style artwork. Let's Doom!! |
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Dragonauta - Luciferatu / Source: www.stonedgods.com
Do you remember Dragonauta? If you like Los Natas, then
chances are you might have at least heard of them, as they
shared a CD a couple of years ago. Well, me being a great
fan of Natas, I couldn't wait to listen to their latest full
lenght.
Indeed this record was a surprise... to start with it's quite a difficult
one, it's nothing like a "pick up and play" record, it's nothing
you could use for a party.
The music Dragonauta plays is difficult to label; while we surely are in
the field of "heavy-doom-rock", there are different textures
all over that makes this record difficult to judge.
Some moments are more metal, some others are doom (very well played, I
like it even though i'm not a big doom fan), some others are lysergic and
remember me of Natas (and this are my favourites moments)... there is really
a lot to listen and to discover here; add to this good news the extremely
good recording quality, and you have an astonishing result.
I heartly suggest this record to all the "bored ones", this could
electrify your long winter days, and for sure will not be a record you'll
forget in a couple of days.
The only downside to this happy story? You need to like the mostly screamed
vocals, they're anything quiet, they're not clean or warm, they're instead
quite aggressive and "heavy". But if you can bear with this side
of Dragonauta, get on the net (well, most probably you already are...)
and order Luciferatu as soon as possible!
Ratings: Groove: 3/5 - Psychedelia: 4/5 - Heavyness: 4/5 - Originality:
4/5 - Overall rating: 5/5 |
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Dragonauta
- Luciferatu / by Living
Rain / Source: www.noizeitalia.com
Dopo le positive premesse create nell’underground
stoner e doom grazie allo split in compagnia dei Los
Natas, finalmente giunge il momento del primo full lenght
sulla lunga distanza per i Dragonauta, formazione argentina
che in questo "Luciferatu" sfodera una prova
davvero degna di nota. Messi da parte i problemi avuti
in seno alla line up, la band capitanata da Federico
Wolman volta pagina e ci propone oltre 50 minuti di doom
eclettico e visionario, dove si mescolano sonorità intricate
e atmosfere lugubri.
I Dragonauta ormai sono un gruppo maturo, non hanno più bisogno di stantii
punti di riferimento: il loro doom sa essere avvolgente e al tempo stesso
gelido, incentrato su una perizia tecnica notevole che consente ai cinque
di passare da stacchi jazz a costruzioni progressive, senza disdegnare
incursioni in campi sonori prettamente metal.
La base ritmica composta da Ariel alla batteria e Martin al basso crea
tappeti pulsanti sui quali si adagiano le chitarre ora cupe ora ariose
di Daniel e Hernàn (in realtà entrato nella band dopo le registrazioni)
e la voce cavernosa di Federico, epigono del più demoniaco di tutti i
cantanti doom, Mr. Lee Dorrian.
Già l’iniziale "Bruta-Vu (Nijo del Diablo)" lascia presagire
quanto ci attende nell’arco dell’ascolto: vocalizzi strazianti
uniti a riff tirati e compatti che si placano solo per lasciare spazio
a incredibili aperture psichedeliche prima di riprendere a macinare come
un carro armato. E’ come se Black Sabbath, King Crimson, Angel
Witch, Saint Vitus, Cathedral ed Electric Wizard si unissero in un circolo
maligno e dessero vita a brani come la successiva "TomegaPentagram",
il cui incipit sognante, tra il blues ed il progressive, cede il passo
ad una colata di lava bollente che unisce doom e metal classico.
Stralunate sequenze jazzate, chitarre affilate e fughe oniriche dal sapore
latino rendono "Vidrio negro" veramente sorprendente, mentre "The
SuperChrist" ci trascina in una dimensione lovecraftiana dopo averci
estasiato con un’ampia dose di psichedelia lisergica. Il colosso
centrale "Antologia de un ombre santo" (quasi 10 minuti di
durata) può essere considerato la summa del sound targato Dragonauta:
arpeggi delicati e riff ossessivi, destrutturazioni prog e ritmiche quadrate, è un
susseguirsi di grandi emozioni che culmina in un roboante assolo di batteria,
un vero tuffo negli anni ’70!
Senza poter essere tacciati di sterile revisionismo, i cinque argentini
proseguono la loro marcia infernale con "Powerchild", oscura
invocazione alle forze del male dove il cantato di Federico si divide
tra parti melodiche ed altre evocative. Terrificante è l’unico
aggettivo che può essere utilizzato per definire "Funeral magico",
altro episodio di doom psichedelico che fa da preludio alla conclusiva,
angosciosa "N.J.G.", sigillo finale di un’opera che tutti
i fan della musica del destino hanno il dovere di fare propria.
Da segnalare che nel cd è inclusa una ricca sezione multimediale che
comprende anche un video di circa 20 minuti. Se qualcuno avesse ancora
qualche dubbio se lo faccia passare presto… Come on now, let’s
fuckin’ doom!
|
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Dragonauta - Luciferatu / Source: www.hellridemusic.com
Luciferatu finally sees the light of day! Both
album and band have seen more bad luck than Coleridge's
Ancient Mariner, so it's great to see that this has gotten
a proper release.
The album Luciferatu is an exceptional melding of early 70's doom
crush, progressive flourishes, jazz-like interludes and intros (really,
the trademark of the Dragonauta sound) and the occasional traditional Latin
touch. The result is a record that offers a tremendous amount of varied
sound and exceedingly complex songs which reveal themselves in multiple
time changes and dynamic shifts. All this is topped with extremely talented
and emotive playing - It will take several listens to soak all this in. "Antologia
de un Nombre Santos" will blow your mind.
Vocalist Federico "Dr.Doom" Wolman (and a Ph.D. in real life
as well) has changed his vocal style dramatically from the days of their
early, self-titled demo.
It's now a roughhewn vocal blast which contrasts sharply from the more
gentle passages and fits right in when the band sets to crush. The entire
band are exceptional musicians and vintage rock aficionados from everything
from early psych to krautrock. The diverse influences are felt here in
spades. Of considerable note is the rhythm section of Martin Mendez and
Ariel Solito. Amazing.
My judgment may be tempered with Dragonauta, as I have a special affinity
for this release. I've heard the demo versions of these songs in their
early versions and was lucky enough to spend a considerable amount of time
with the band one week in the middle of the Argentine Winter (in mid-July)
in their native Buenos Aires. The highlight was a live performance for
my wife and I in their rehearsal space. Better hosts and better people
you would be hard pressed to find.
Back to the heart of the matter - Luciferatu is a gargantuan and
complex beast of a record, a true reflection of the musical passion and
knowledge of these five "dumbetas". Impressive to say the least. |
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Dragonauta - Luciferatu / by Alessandro
Zoppo / Source: www.perkele.it
Dopo le positive premesse create nell’underground
stoner e doom grazie allo split in compagnia dei Los Natas,
finalmente giunge il momento del primo full lenght sulla
lunga distanza per i Dragonauta, formazione argentina che
in questo "Luciferatu" sfodera una prova davvero
degna di nota. Messi da parte i problemi avuti in seno alla
line up, la band capitanata da Federico Wolman volta pagina
e ci propone oltre 50 minuti di doom eclettico e visionario,
dove si mescolano sonorità intricate e atmosfere lugubri.
I Dragonauta ormai sono un gruppo maturo, non hanno più bisogno
di stantii punti di riferimento: il loro doom sa essere avvolgente
e al tempo stesso gelido, incentrato su una perizia tecnica
notevole che consente ai cinque di passare da stacchi jazz
a costruzioni progressive, senza disdegnare incursioni in
campi sonori prettamente metal.
La base ritmica composta da Ariel alla batteria e Martin al basso crea
tappeti pulsanti sui quali si adagiano le chitarre ora cupe ora ariose
di Daniel e Hernàn (in realtà entrato nella band dopo le registrazioni)
e la voce cavernosa di Federico, epigono del più demoniaco di tutti i cantanti
doom, Mr. Lee Dorrian.
Già l’iniziale "Bruta-Vu (Nijo del Diablo)" lascia
presagire quanto ci attende nell’arco dell’ascolto: vocalizzi
strazianti uniti a riff tirati e compatti che si placano solo per lasciare
spazio a incredibili aperture psichedeliche prima di riprendere a macinare
come un carro armato. E’ come se Black Sabbath, King Crimson, Angel
Witch, Saint Vitus, Cathedral ed Electric Wizard si unissero in un circolo
maligno e dessero vita a brani come la successiva "TomegaPentagram",
il cui incipit sognante, tra il blues ed il progressive, cede il passo
ad una colata di lava bollente che unisce doom e metal classico.
Stralunate sequenze jazzate, chitarre affilate e fughe oniriche dal sapore
latino rendono "Vidrio negro" veramente sorprendente,
mentre "The SuperChrist" ci trascina in una
dimensione lovecraftiana dopo averci estasiato con un’ampia dose
di psichedelia lisergica. Il colosso centrale "Antologia de
un ombre santo" (quasi 10 minuti di durata) può essere considerato
la summa del sound targato Dragonauta: arpeggi delicati e riff ossessivi,
destrutturazioni prog e ritmiche quadrate, è un susseguirsi di grandi emozioni
che culmina in un roboante assolo di batteria, un vero tuffo negli anni ’70!
Senza poter essere tacciati di sterile revisionismo, i cinque argentini
proseguono la loro marcia infernale con "Powerchild",
oscura invocazione alle forze del male dove il cantato di Federico si divide
tra parti melodiche ed altre evocative. Terrificante è l’unico aggettivo
che può essere utilizzato per definire "Funeral magico",
altro episodio di doom psichedelico che fa da preludio alla conclusiva,
angosciosa "N.J.G.", sigillo finale di un’opera
che tutti i fan della musica del destino hanno il dovere di fare propria.
Da segnalare che nel cd è inclusa una ricca sezione multimediale che comprende
anche un video di circa 20 minuti. Se qualcuno avesse ancora qualche dubbio
se lo faccia passare presto… Come on now, let’s fuckin’ doom! |
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Dragonauta - Luciferatu / by Rob
Wrong / Source: www.stonerrock.com
Dragonauta's latest release 'Luciferatu' is a progressive classic rock
album like a lost treasure out of the late 60's. The sound/production and
everything is crisp and well thought out from all angles.
Take the sounds of King Crimson, Sabbath and Hendrix and put it in a blender
and you would get something close to Dragonauta's sound...fold in about
a half a cup of Latino dust and you are even closer... It's a very classic
simple sound, simple instruments just played like professionals. These
guys have serious chops and are a well oiled, well rehearsed machine. Their
songs are almost seamless on this CD from start to finish as if the whole
album is telling a story.
Some of the music is full of busy angular riffs, while other times it's
a straight up blend of metal and classic blues drenched in doom. Sometimes
these guys are playing super heavy, overdriven with screaming vocals, and
at other times its acoustic based numbers with melodic vocals. Dragonauta
has probably heard a little Candlemass too; this album reminds me of that
quite a bit as well.
Well I got to hand it to these cats, they outdid themselves for certain.
Doom, Metal, Classic Rock- Stoner Rock. These guys have an excellent take
on what is going on...this album is highly recommended! |
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Dragonauta - Luciferatu / Source:
n/d
Since their split release with Argentinian heroes NATAS several things
around DRAGONAUTA have changed. The new sound is a lot heavier and sometimes
completely different. From doomy to psychedelic, even progressive and jazzy
moments can be heard on this one. But for the most part the new material
is heavy doom, raw and loud, CATHEDRAL-"Carnival Bizarre"-era
might give you a slight idea. Three of the songs have English lyrics this
time, the rest is sung in Spanish as usual. Maybe not the right stuff for
fans of relaxed sounds like played by LOS NATAS, but guys who are into
this heavier and a little more aggressive kind of downtuned music get an
intense and unique 8 track doom opus (55 Min. in total). |
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Dragonauta - Luciferatu / Source: www.stonerrock.com
If you have the split with NATAS, that was flour from another sack.
These guys really improve themselves from that recording. The music is
much heavier (specially the voice), and complex. The addition of a second
guitar player adds a broad amount of arrangements that go from jazzy, to
progresive, to psicedelic, to heavy metal. It´s not square, straight forward
doom, the songs have a lot of different textures never heard by gringos
(a lot of 70´s argentinean bands influences) and you can hear them from
the get go. By the way, three of the tracks have english lyrics, so don´t
complain.
If you want to hear something different from the doom side of stoner, get
this one, I´m sure it will be available soon at ATH. |
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Dragonauta - Luciferatu / por Astronomy
- 26/01/04 / Source: www.metal4all.net
Doom de la vieja escuela hecho en argentina. Dragonauta están compuestos
por Daniel Libedinsky (Guitarra), Martín Méndez (Bajo ), Ariel Solito (batería)
y Federico Wolman a las voces.
El estilo de Dragonauta es difícil de definir aunque de primeras, como
ya dije, lo primero que se te viene a la cabeza es el doom. Esto ocurre
porque Dragonauta se encuentran en la delgada línea que separa el doom
del stoner. Ellos mismos aseguran que, aunque en un principio, su idea
era la de hace doom a la vieja usanza, basada en los primeros discos de
Black Sabbath, en Pentagram, The Obssesed o Saint Vitus, poco a poco han
ido roquerizando su sonido (algo que se nota mucho en los solos) y añadiéndole
algunos elementos progresivos.
Todo esto que expongo queda patente desde el primer corte, "Bruta-Vu(Hijo
del diablo)", con un breve pasaje instrumental que da paso a un riff
muy pesado y a la desgañitada voz de Federico Wolman (cantando así cuesta
pensar que es bioquímico de profesión). La canción concluye con un pasaje
instrumental muy propio del stoner, de ahí el que haya enfatizado en las
primeras líneas de esta crítica esa leve separación que hay a veces entre
ambos estilos. Tras el primer corte, sin duda el de mayor gancho de todo
el disco, viene "ToMegaPentagram", de ritmo mas pausado pero
de las mismas características que la anterior y de, en definitiva, todo
el disco. Así, hay bastantes momentos interesantes como el tercer corte "Vidrio
Negro", que empieza con una larga parte instrumental en clave de jazz
tras el que aparece de nuevo un riff muy pesado. Excelentes también las
guitarras dobladas en este tema y ese final a modo de guitarra española
que da paso de nuevo a un riff y a Federico Wolman recitando en castellano.
Curioso aspecto este último pues según que canción Federico usa el inglés
o el castellano, obviamente, solo hay que echarle un vistazo a los títulos
para adivinar que idioma usa en cada tema. Terminando con "Vidrio
Negro", hay que decir que es el tema más, relativamente, accesible
del disco. "The Superchrist" posee infinidad de cambios de ritmo
que hacen de él un tema muy dinámico. "Antología de un Hombre Santo" nos
da muestras de ese ramalazo psicodélico tan atractivo del que gozan algunos
de las canciones de Dragonauta. "Powerchild" se mantiene fiel
al doom, sin dejarse atraer por desvaríos instrumentales. En "Funeral
Mágico" hay más de lo mismo pero con la novedad de Federico Wolman
susurrando en gran parte de la canción. "NJG" cierra el álbum
de forma pesada y entrecortada, siendo como una especie de despedida, y
claro está, constituyendo el corte de menos valor del álbum.
Grata sorpresa la de esta banda, sobre todo viniendo de Argentina, donde
escasean de forma alarmante bandas de este tipo que puedan dar lugar a
una escena doom o stoner en condiciones. Por eso, y por la innegable calidad
que atesora el disco, Dragonauta merecen que les de una oportunidad. Yo
lo he hecho, y doy fe que no defraudan. |
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Dragonauta
- Luciferatu / Source: www.strickle.com
Luciferatu is the first full length album of Dragonauta from Argentina.
They have the same 'magical' arau that Black Sabbath had in the 60z, a
doomy sound with a touch of metal to it. The overal sphere in the music
reminds me allot of how Sabbath sounds back then, mixed with few modern
elements. The recording sounds "escaped" from the early years
of rock, which makes the sound authentic. Apart from sounding like Sabbath,
they chose a different musical path. Dragonauta isn't to shy to throw in
some psychedelics, some jazzy melodies and raw vocals. Compared with the
previously released demo and split cd, they've developped their own sound
and style, and grew as a band. The compositions are tight and groovy. Some
nice footage is included on the cd aswell. |
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DDG Records 2007 - Buenos
Aires - Argentina
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