Pop – Ernst Molden and Der Nino from Vienna: S (t) ars in the manege

When the circus came to town, Mordsbahöl was always the order of the day. There was cotton candy, ice cream and deep-fried food and in any case no school that was stuck (but psst!). There were clowns that you ball yourself over and trapeze artists that you could hardly look at. At the latest when it came to knife throwers, however, people feared that they would still see their first dead here today. Drum roll, zip-zip, ta-dah! Fortunately, everything went well anyway and in the meantime you could finally forget the personal seriousness of life, which essentially consisted of obligations. Brushing your teeth, doing homework, going to bed after bedtime treats, who wants that?

Instrumented in a Spartan way

Today the Mordsbahöl is over for now. For known reasons, the circus no longer comes to the city, the traveling people no longer travel. Distance learning can also not be staggered so well when mom and dad sit on the school desk next to them in the home office. Anyway, everything is stupid! And at the moment you can only dream of candy abuse and the ball with your best friends in a tent on a gstettn on the outskirts of the city.

In this respect, it is only logical that with the Viennese songwriter Ernst Molden and his colleague Nino Mandl alias Der Nino from Vienna, of all things, two musicians who are currently unable to perform, sing about a trade that has been on a forced break for a year – and this as a soundtrack to a film that is not (yet) shown in the cinema. The present album with the programmatic title “Zirkus” (Bader Molden Recordings) for Harald Aue’s film “Der Zirkus” about the life of Roncalli director Bernhard Paul is a homage and substitute in one.

After all, images of the twelve spartanly orchestrated songs pop up in the mind’s eye that include made-up adult men with shoes that are much too big, waistbands that are much too high and a rubber flower on their lapels used as a water pistol – or graceful acrobats with wasp waists and sequins. Ernst Molden on this in a pretty laconic way: “Warad ia clown / No, I had twenty women / And in addition: Ka Ruah!”

We can already see that humor is used in the Viennese dialect. However, following the example of the natives who are often bipolar at the Heuriger, after a certain point in time, squirting wine depression comes into play. Not only in this regard, Will Oldham’s teardrop “I See A Darkness”, once made famous by Johnny Cash, as “I siech wos Finsdas” is a highlight that is transferred here: “I often wear the landlord and hom over Sochn gredt / Owa that ma sits and babbles, you have no idea that somehow you know… “

Heroes of the local

In general, the double, familiar with all the myths of the (sub) city and the primeval soup of Austropop, delivers further great moments of the dialect song. Lines like “Gfoid ma wos, mechad i ?? s hundat moi hom / In olle varieties and in olle Forbn / In Himme sei Fuaßbodn is da Hö ihr Plafon / And i may not have koit, but worm” present the two musicians once again not only as heroes of the local, but above all as heroes of the local.

Six years after their surprise success with the Austropop reinterpretations of their first joint album “Unser Österreich” (3rd place in the domestic album charts!), The results on the successor do not seem familiar to us by chance. Nevertheless, this time new paths are being broken with self-written songs and the aforementioned focus, even if these mean a standstill due to the pandemic. Keyword S

We learn that the dangers on the trapeze compared to the household death trap are sometimes a learner’s story (“Amoi foit who gonz far owe / and nothing happens / Amoi who goes to the Bodwonn and drinks o, / dies”), and in the song “Mia gengan d ?? Viecha o” that it sometimes leaves old longings when the circus changes to keep up with the times. Animal numbers no longer exist in the Roncalli since 2018. We are all looking forward to the return of the Bahöl!