With iron consistency Max Nagl pulls through his plan of one-word play titles. "Parade", "Anninger", "Wilderness", etc. And there is one more thing he pulls off remarkably: the cultivated wild growth of styles, listened to with the ears of a jazz-rooted person, which, under strict "Naglprobe", lead an unmistakable, motley life of their own. Immediately an exuberant joy of playing declares itself. A kind of Eisler/Weill cocktail is served in a palatable mixture. Nino Rota and Ennio Morricone discuss Fellinian floods of images. Circus music jubilated. A bit of klezmerism mixes in as well. Blasmusikalischer furor with particularly upper-Austrian note and a little "Manhattan-Rock"-Cholerik may likewise not be missing. Through Nagl's musical ability and understanding it is now clear why aggregate state and architecture of the music, contentwise so eloquently and relevantly the cognitive and the emotional level equally stir - brain with egg thus. Oddly, indulging in humorous obstinacy, seriously well-founded, Nagl assembles all the characterizing set pieces and borrowings into his sound worlds. There they cavort in sophisticated, labyrinthine arrangements. Populated with bizarre harmonic twists, lush polyphony in a dense fabric, contrapuntal vocal traits in the dialogue of string and wind instruments, tempo changes in a frenzy of joy. Core point: the flexible, speaking melody. Along rhythmic straightness, which allows itself here and there tricky "derailments". Room for improvisational individual enthusiasm is in Nagl's concept so and so out of the question. Ingenuity and originality are present in all moments. Bottom line: finest chromatic-diatonic madness based on first-class compositional competence. MAXimalist. (Hannes Schweiger)

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