"The three Colombians have been making music together since the late 90s, with themes of both exploring Colombia's rich musical heritage and highlighting the absurdities of Colombian life, running through all their work. As Los Pirañas is when you find them at their most visceral, making music that is charged, ready to erupt into magnificent new shapes and sonic avenues at any moment. On their third album, Historia Natural, we hear them sounding as direct and restless with creativity as ever on a gloriously-varied set of songs ... There are tell-tale references to Colombian rhythms, but it's hard to pinpoint exactly which. Most recognisable are "Todos Tenemos Hogar", a Peruvian cumbia given their distinctive treatment, and final track "Rechazados Por El Mundo (Pompeya)" which resembles champeta in its verse, though the addition of cheering crowd noises and distorted guitar do their best to disguise it, adding a certain element of surrealism in the process ... This is skronky tropical music with a heart and over-active head, consistently finding new ways of expression that are never anything other than revelatory"

"It soon becomes clear that Historia Natural is unlike any other instrumental album that you may have heard before ... Imagine this album, if you will, as a sonic leap back to an era when Telstar and Fireball XL5 were capturing the imagination of a baby-boomer generation hungry for technology and electrified 'pop' music. Feeding his guitar directly into a laptop computer gives Eblis Álvarez a glorious range of wonky lo-fi distortion and bizarre effects that astonish and enthral right through to the conclusion of final track Rechazados Por El Mundo. The result is an ever-evolving sonic mesh of psych-rock, jazz and dub-minimalism laid over a hypnotic mélange of authentic South American rhythm. Like their previous two albums, Historia Natural was recorded live in the studio, and the resultant energy manages to tumble out of the speakers at home as an eccentric cacophony of experimentation and retroism"