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Reviews
It's the little jewels like Buenos Aries-based Dragonauta that makes this little gig as heshrock writer such a pleasure. I have a weird thing for blues-based doom, I mean I truly look at it as an artform all itself...it's kind of like a melancholy jazz with uplifting interludes. Juxtapose blues-based doom with just DOOM and it's a different story...the latter is usually meant to be an all attack on your Serotonin receptors. Dragonauta rocks you in a very early Sabbathian way, doom intersperesed with groove, not a Candlemassian assault on your good mood. Dragonauta harks back to the transition that Iommi and company made from Earth to Sabbath...it's 1969 all over again, and Dragonauta even use the analogue equipment to prove it. Some artforms aren't mean to be fucked with. The painter whose a purist will always measure his/her talent by what is created with a brush vs. a computer painting program, and the Doomist will always fiddle with analogue vs. digital. It's part of the ritual that has been steeped in over 30 years of tradition. The musicianship on this album is impressive. Every single one of these guys must be a doom aficionado. Of particular mention is Martin Mendez's' bass playing...understated and never in your face, it is the crucial underpinning of the album as he seems to tie drums, guitar and vocalist together. Creative fills abound, and Martin knows when to turn it on and when to shut-up. Perhaps the best track to pick up on this is "Guardian del Hongo" where his style really comes to fruition. I hear Jazz training in here, or at least a deep appreciation on how to communicate and not dominate the other instruments in the band. As the lyrics are in Spanish, and the only Spanish I know is relegated to curse words, I haven't a feign' clue what vocalist Frederick Dolman is singing about. But, and I swear to this, it doesn't matter. The voice is just another instrument in this melancholy jazz combo, just like "scat" is used as an instrument and not the instrument. I will finish this up by saying that the music was produced by none other than Seraglio from Natas, who given the raw, unmastered version I received this work in, did an outstanding job. This is nothing more than four dudes who dig the Doom art form getting together and making music without pretension. A welcome addition to any Blues-Doom aficionado's collection and a brilliant start for those not familiar with it's magic.
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Man,
I was so happy to get a CD replete with an intact jewel case in the mail
and what do I do as soon as I open it but drop the damn thing on the cement.
I'm such an a-hole sometimes. 