INT020 - NITRO MAHALIA
INT 020 | LP
NITRO MAHALIA s/t
release date: december 21st, 2010
Founded in Vienna 2004, the instrumental combo with the strange-but-beautiful name
NITRO MAHALIA made their own sonic nest somewhere between DIY-post-punk and
electronic confusion. And a pretty impressive nest this is.
After personal changes in the last years Nitro Mahalia is now represented by Gregor
Mahnert (drums), Tronstoner (bass, synthesizer), Elise Mory (keyboards) and Susi von
Hannover (brass, accordion).
Listening to this freshly released and untitled debut album for the first time, one could
easily oversee a sharp turn, miss a trap door or stumble upon rhythmical changes without
NITRO MAHALIA.
The clarity of ultra-tight riffs in the vein of citation-kings TRANS AM changes to a brain-
dazzling, ZAPPAesque-progression while SKELETON KEY-like-percussion-powers switch
to catchy pop tunes within the blink of an ear.
To even further expand their already rich timbral universe the band likes to invite a couple
of dear friends to bring in some new tricks to the show. So on this record NITRO
MAHALIA host a fine selection of guests like Eva Jantschitsch (GUSTAV) singing about
conquering the world, or Christian Egger (BEAUTIES OF THE NIGHT, JOY RELIGION,
SATELLITE FOOTPRINTSHOP) lending his vocal talent to a cover version of WIPEOUT's
'Victims'. Chris Janka puts himself on the line while throwing out sparks of his 20 000 volts
guitar and last but not least experimental turntablist DIEB13 is shifting his records at the
explosive live recorded final of the record.
When a creepy movie-score catches you for a moment, bass and drum will tear you out of
the ambience with a slap in your face, racing energetically fast forward and not drifting
apart. From time to time NITRO MAHALIA devote themselves to quite epic sound
paintings without getting lost in these vast worlds of psychedelia. Suddenly crunchy thrusts
of hustle and bustle shoo around the corner, playful and rich of details, that don't get
caught in mathematical systems but pulsate and celebrate their life. The fundament of the
band made out of drums, bass and synthesizers are supplemented by brass cues which
switch between far-out-jazz-lines, disco coolness and a mangy fuck-you pose. Just at the
right moment the keys get distorted so intensely, it almost sounds like a grinding hurdy-
gurdy playing backwards in the streets of Amsterdam. NITRO MAHALIA manage to take
themselves back in the right moment, but also beckon the audience through shear density
of sound, when it's time to shut up. The album was mastered by Martin Siewert.
/a1 killer farce
/a2 beauty of a sports car crash
/a3 roger. over. stop. (feat. eva jantschitsch)
/a4 acid d.c. (feat. chris janka)
/a5 knock knock on the water
/b1 codetta
/b2 intro
/b3 flieg, kleiner trochäus!
/b4 victims (feat. christan egger)
/b5 neon boredom
/b6 ideas are bulletproof (feat. dieb13), live at rhiz
line-up:
gregor mahnert (drums, percussion)
tronestoner (bass, synths, octapad)
elise mory (piano, organ, synths)
susi von hannover (flugelhorn, trumpet, accordion)
recorded and engineered by: Chris Janka
mastered by: Martin Siewert
track order by: derhunt
raumklavier by: http://rio.freutmich.org
artwork by: Andi Leikauf
layout by: nitromahalia
downloads:
artwork [tif]
reviews:
Neither and Or!“ steht am Backcover dieser Vinylschallplatte. Dieses seltsame Motto verdeutlicht ganz gut, worum es den vier oesterreichischen Instrumentalrock-Abenteurern geht:
keine (Stil-)Grenzen anerkennen, keine ausgetretenen Pfade beschreiten, stattdessen lieber eigensinnig sein, lustvoll Haken schlagen und bloß keine Langeweile aufkommen lassen.
Jazz mit Schmutz unter den Fingernaegeln trifft da auf entfesselten Postrock, punkige Intensität auf hitzige Blaeser und elektronische Strenge. Das klingt fordernd, verwegen – und vor allem verdammt gut.
[FALTER Gerhard Stoeger]
Formed in 2004 in Vienna, Nitro Mahalia are a particular band. Mixing noise, film music, punk and jazz, the four people of the band used all these years to prepare their first album. Released on vinyl by Interstellar Records the Nitro Mahalia self named album is bringing you eleven blasts where bass distortions, hard beats, noise, catchy brass solos and organ cries are the main core.
Take for example "Acid D.C.", it starts with a distorted bass and drum beating like a double heart beat, then brasses arrive. The chaotic/melodic wall of sound finds its nirvana thanks to the Chris Janka (one of the four guests on this album) distorted guitar inserts which now are noisy and then powerful.
Another track that catch my attention immediately was "Intro" (which isn't the first of the album, it's the seventh/the second of side B): it starts with drone organ loops and then when the tension is at the top, it changes, turning into a fast melancholic tune.
This album is a pleasant surprise and if you are into 90s guitarism with a bit of experimentation or you love Naked City, Slint and a bit of jazz, Nitro Mahalia is a band to check!
[chaindlk.com Maurizio Pustianaz]
Nitro Mahalia wird den wenigsten etwas sagen, man sollte sich den Namen
allerdings vormerken. Denn die im Jahre 2004 gegruendete Instrumentalcombo aus Wien
bewegt sich auf
ihrem Debuet im Spannungsfeld aus handgemachtem Postpunk und
elektronischen Verwirrspielen.
Vor allem die Klarheit der Riffs erinnert an die abgefahrenen
spacenoise-Grooves
der ultratighten Trans Am (im Captain Future Kosmos), aber auch die
abgedrehten Gedankengaenge eines Frank Zappa (Mike Patton wuerde es lieben) finden hier
statt. Satte Ohrwuermer treffen auf kunststudentische Soundcollagen, ohrenbetaeubende
Percussionkonstrukte
auf noisejazzdance-Gefrickel from outer space (ohne den Faden zu
verlieren).
Und ehe
man sich versieht, schaut Eva Jantschitsch (Gustav) vorbei, um mit ihren
Vocals den Track
"Roger.Over.Stop" zu veredeln. Unbedingt anchecken.
[FLIGHT13]
Oh, uh, pretty impressive! You could file this band from Vienna under "progressive and (mostly) instrumental Noise-Rock", but actually there's much more to them!
Comparable to BATTLES (and there doesn't seem to be any better comparison than this), but with a style and sound of their own, with some occasional nods to previous ages like Kraut- or Jazz-Rock.
But always delivered with a tight, energetic, and almost funky groove! Awesome!
[XMIST]
In Zeiten wie diesen beruehrt es ueberaus wohltuend wenn Musiker spuehrbar ernsthaft an einem Soundkonzept arbeiten und ein homogenes, durchdachtes Album entwickeln. Der schale Scheinerfolg, gemessen an Youtube-views und facebook-Freunden, ist eben alles andere als ein Garant fuer Qualitaet.
Das ist auch genau das tolle an Nitro Mahalia. Davon abgesehen, dass all die Post- und Postpost Zuordnungen ganz eindeutig zu kurz greifen, hoeren wir hier erstmal in viele Richtungen ausschlagende und von Intensitaet implodierende Soundeskapaden. Ohrwuermer und Breaks in Break, Punkfunkyness, eine versteckte Schoenheit, verschroben, ansehnliche Klangbilder, sich selbst wieder und wieder reflektierend. Musik die sich ihrer Verquertheit bewusst ist, und deshalb ein Kuriosum. selbst im weit offenem, experimentellen Feld, dargestellt. Das braucht keine Postpunk, Postpostrock, also Post-TransAm Verkuerzungen, das atmet selbst und kann sehr gut als der symbolische Fels in der alternativen Brandung gesehen werden.
Ich habe "nur" eine prelistening-cd, bin also gespannt auf artwork usw... Factkicking mission: 10 Tracks, instrumental (Ausnahme: Track 3: Gastauftritt Gustav, und Track 8), weitere Gaeste: Christian Egger (Beauties Of The Night, Joy Religion, Satellite Foootprintshop), Chris Janka und der Turntable-Experimenteur dieb13, gemastert von Martin Siewert. Alles unbedingt weitere Argumente dafuer. Dieses Ding kommt jetzt also demnaechst ueber interstellar records zu uns. Dank auch dafuer. Nitro Mahalia sind Gregor Mahnert (Drums), Tronestoner (Bass, Synthesizer), Elise Mory (Keyboard) und Susi von Hannover (Blaeser, Akkordeon) und großartig. Und: hoffentlich auch bald in unseren Gefilden konzertant zu bewundern. Wer das verpasst, dem fehlt was.
[KAPUzine Nitro Mahucklia]
Kalorienbombiger Instrumentalrock aus Wien, der nur zu gut weiss, dass ein Sport Car Chrash die Schoenheit der Nike von Samothrake in den Schatten stellt. Die Turnschuhkolonnen marschieren, Gregor Mahnert trommelt, Tronstroner grollt mit Bass und Synthiesounds, Elise Mory orgelt und Susi von Hannover stoesst ins Horn. Gastsaengerin Gustav meldet den Komplettvollzug des Welteroberungsauftrags, 'Roger. Over. Stop' bringt dabei eine Moloko-Lektion zur Detonation. Da wird mit Wiener Sophistication geklotzt, bis hin zur Aboutness von 'Acid D.C.', das das AC/DCeske an Rock auf's Simpelste skelettiert, eine Gitarre durchdrehen laesst und gerade dadurch eben nicht simpel ist. Wer aus der Rockgeschichte zu lernen versteht, dem taugt selbst die Farce als Zuendstoff ('Killer Farce'). Von wegen 'Ideen sind kugelsicher'. Dafuer ist der Drive narrensicher, da hebt sogar ein Versfuss ab ('Flieg, kleiner Trochaeus!'). 'Victims', mit Susi am Akkordeon und Christian Egger am Mikrophon, ist ein Wipeout-Cover mit 'Fadi' Dorningers Handschrift. 'Neon Boredom' cruist poppig und mit trance-grooviger Trompete durch die Nacht. Zuletzt laesst beim Uptempo-Fetzer 'Ideas Are Bulletproff', live im Rhiz, Dieb 13 seine Scheiben mitzwitschern und -flitzen. Soll keiner sagen, dass es nicht spritzt, wenn man mit einem fluessigen Medium schreibt.
[BAD ALCHEMY 68 Rigobert]
Sorry, I have no formal information on when this album will be released as I received an upfront
copy with the request to write some promotional words for its release.
What is the difference to a review, really? Well, around here, as I only write reviews
of music I like because everything else seems like a waste of time.
And yes it is true that this is the reason that writing about music on the internet has
become a self-centred, affirmative, gigantic heap of bullshit, because wherever you look you'll
find somebody who tells you how great the latest record by Eric Clapton, Brittney Spears or
Ozzy Osbourne is.
There is no one on the internet you can trust. Except for me, of course,
because I have been doing this back then already when it wasn't fancy to have a blog.
I didn't call it a blog, but who cares anyway. So this is the extended version of the
promo-lines I wrote for Nitro Mahalia and as of now I am not even sure if they will use it,
because I have the gut feeling that as usual I am way too late.
I don't remember where I know Nitro Mahalia from. Maybe by some way of noise rock.
I do vividly remember a demo CD-R or something. They have come a long way from there.
Almost like the last album by Bulbul which was a big step to something new. Anyway,
someone said that style is knowing what to do blended with a dash of daring. So, if a
band lays down a grooving fixture of noise rock but uses a trumpet, a minimoog and an
accordion in their regular line up, they either know exactly what they are doing or they
are reckless to a degree of genius. Nitro Mahalia are most definitely both at the same time.
Chosing between polar opposites is no fun when you find the opportunity to plunge into both
with a vengeance.
Anyway, this four piece lays down ten sparkling tracks of (mostly) instrumental noise rock
that stretches out to freaky space rock and easy listening at the same time.
Sounds like a weird,sped-up version krautrock to you? Well, how could you not like it then?
Especially when they move swiftly but with clear vision into new wave territority, especially
on 'Victims' with help of Christian Egger on vocals.
Other contributors are Chris Janka ,
dieb13 and Eva Jantschitsch. The latter with a funny goes crazy Science Fiction audio play
like text Nitro Mahalia always move with style. For real, how could you not like a band that
asks a friend to put down the track list of their album,
and then abide when said friend plugs the
'intro' right into the middle of the record? Isn't that exactly what friends are for?
Live, Nitro Mahalia are still a blazing, burning blowtorch of grooving noise rock.
The live track added at the end of the album proves what their worth is in that setting.
Definitely worth checking out both on album as in a show. On album they are a little more
differentiated, experimental minded and stretched out.
Especially when they get down to lay down a just board of pounding, pulsing rhythm.
On a good night they roll like a steam machine, with more dynamics and punkrock than Shellac
and less bluesrock than AC/DC, but with their own fervor.
By the way, the have a track called 'Acid/D.C.' on the album, just to give you a glimpse
of their idols as well as their sense of humour. Does 'Knock Knock on water' also fall into
that category? What about the wild organ on the second track 'Beauty of a sports car accident'?
I recently re-listened to Steppenwolf and to realize that the solo on 'Born To Be Wild'
is played by an organ came as a surprise. One of the most basic and fundamental heavy songs
(the term 'heavy metal' comes from a line of that song...) and the solo is not played by a guitar?
Is this the return of classic hardrock from the Sixties in a new fashion?
Somebody I played this to remarked: 'what was that song by Faith No More called?
That one reminds me of it.' Hm, an interesting thought, but I can not follow it.
Tells us more about the mysteries of the mind than about the music, I think. Or does it?
[CRACKED Georg]
