Tag Archives: Nutria N.N.

Originally posted on November 9, 2009

Brooklyn-based Nutria N.N. offers up a mix of indie rock and Latino folk in this 14-track self-titled album.

Chilean Nutria’s second full-length release runs the gamut of the indie folk genre, from the pure indie rock vibe of “Atenas 399 AC,” to the traditional Latino feel of “Zamba Del Arriero.”

The opening track, “Volver Al Futuro,” distinguishes itself with a spooky Halloween mood, complete with the brief appearance of a theremin. Compare this with the heartbreakingly pretty waltzing of the eleventh track, “Deten El Invierno,” or the retro synths and gloomy harmonic progressions of the post-punk fifth track, “El Mendigo.”

Acting as a common thread within all the diverse individuality of each of these tracks is Nutria’s genuine-sounding, smoky voice, appealing to his listener for ears to hear.

Catch Nutria N.N. live Dec. 5th at Zebulon.

Originally posted on February 15, 2009

Warm acoustic guitar; sad and happy songs ringing out sweet and mellow; brief moments of glockenspiel, whistling, pan flute; eager audience clapping along.  Mellisonant Latin-folkers Nutria NN communed with as many sweaty bodies as could get near the stage in the Upstairs Lounge at Pianos on Sunday night.  Headliner Gepe joined the group for their last two songs, singing vox on “Deten el invierno,” and playing snare drum on the final song, giving its groove an unexpected military twist.  “Otra! Otra!” cried the crowd at the end of the song, answered by a simple command from Nutria’s lead singer to “Stay!” for Gepe.

Originally posted on August 9, 2008

Brooklyn-based Nutria N.N. brought their moody brand of Chilean indie-folk/rock to Pete’s Candy Store on Saturday night.  Fans and strangers alike crammed into the small Williamsburg venue to witness the fairly impressive live recreation of meticulously orchestrated songs.  The mix of acoustic (guitar, violin, field drum) and electric (synth, bass) instruments made for a genre-bending sound, the prevalence of pretty melodic lines and retro synth patches pushing indie.

Pensive and dark, the music inspired contemplative silence from the audience for most of the set, though an enthusiastic and boisterous round of “otra” was given after the final song.  The first half of the set centered on the singer (who’s also the songwriter) and his acoustic guitar—like the breathy and ethereal “Una Mas, No Mas”—while the last half featured songs with a fuller sound and faster tempos.  The bluesy “Tristeza de Lota” was one of these, whose abrasive harmonica loop gave the song a raw feeling.  By contrast, the song before “Tristeza” employed the high vocals and steadily building-in-energy piano line characteristic of Sigur Rós.  Differences in style like these notwithstanding, the singer’s clear voice and the attractive wonted harmonic language nicely unified the overall sound of the set.

Check out Nutria N.N.’s music at