Interpretation “Ollas Nimma Deins” by Voodoo Jürgens | EUROtoday

Does curiosity within the tales about outsiders, mayors and losers disappear? The Biennals, Grammys and Oscars of our time point out this. Instead of irritating, artwork desires to encourage its viewers and this desires to be confirmed. Those who’re hardly ever a part of the viewers stay extraordinary. Which, regardless of the massive variety of identities that signify artwork lately, fall via the grid. What is supposed are the remaining individuals who have fallen behind social progress or, by selecting a sure “profession”, stand to the sting of the general public.

One who has an ear for these damaged voices is the Austrian musician Voodoo Jürgens (born in David Öllerer). On his three albums which have been launched thus far, he offers the eye of those that must concern their area on this world with all of the achievements of modernity, from synthetic intelligence to non -alcoholic wine. He is supported by the proficient band “Ansa Panier”, whose identify must be translated as a “first breading” with quite a lot of bellyache. It consists of the musicians Bernd Lichtscheidl, Matthias Frey, David Schweighart, Martin Dvoran and Alexander Kranabetter.

Together they play the style that may be labeled as a “new Austropop” and has dialect vocals as a attribute. Although the time period Wienerlied additionally seems to be appropriate, its proximity to the historic efficiency follow of Schrammelmusik, which at all times has violin and harmonica, types a corset that’s too tight for the fashionable compositions of Voodoo Jürgens. But whether or not Wienerlied or Austropop: Both have appeared to have come out of style since Georg Danzer’s dying. The suspicion was most likely too shut, dialect singing would simply be transfigured. It contributed to this that the genre-typical songs had been primarily chanted in après-ski bars. It was all of the extra stunning when in the summertime of 2016 all Vienna Voodoo Jürgens’ first hit “Heite coarse Ma death” sang. After initially justified concern, it was clear that not solely was the tavern corpses, however a complete musical style.

He was capable of dock to the success of the Vienna Band Wanda and the musician of the Nino from Vienna. It was her advantage to have made the style once more for popular culture satis -factionable. A yr earlier, Nino, along with the musician Ernst Molden, printed the Austropop cowl album “Our Austria”. Voodoo Jürgens supplemented the style along with his staging as a depraved Viennese with a vokuhila, mustache and an excessive amount of open shirt buttons. His identify was rapidly recognized in Austria, and his songs had been carried from the studio of the youth tradition radio FM4 to the fireplace brigade festivals in rural areas.

Despite the linguistic gradient, Voodoo Jürgens can be recognized on this nation. Although stanzas like “The BIM still makes Simmering, I buy it on the Fohrschein, I break that of the gnack and you get into your care” for a lot of after a resuscitation of the Langobardian blades. The various use of horn, piano, violin to electrical guitar and bass signifies any vocal dominance anyway. The created sound could possibly be characterised as a nuanced derb. If attributions comparable to “atmospheric” don’t appear as tapped, they’d be acceptable right here. In the center of a playful soundscape, which makes bonds with Helmut Qualtinger and Bad Seeds, a captivating Voodoo Jürgens then seems, which processes his materials with such kindness and forbearance that everybody is suspected of smug.

The time period “artificial figure” could be inaccessible to Voodoo Jürgens, as a result of it means that anybody else is hidden behind it. However, if you recognize Jürgens’ autobiographical music “Tulln”, you recognize that the individuals and milieus from whom his music usually are not distant. The individuals David Oillerer and Voodoo Jürgens interweave an amalgam that enriches the canon with experiences in a convincing approach.

Many of his songs are character research, the historical past of which the play “Ollas Nimma Deins” acts, appears to be much less testimony to an enviable creativeness than an on a regular basis sociological statement. The first stanza introduces us to the plot as follows:

You sit on Ana Parkbank
And suppose wistfully Zruck of the Guade Oide time
Ollas woa benser damois “ sogst, „ „ „ „ „ „ „ „ „ „ „ „ „ „ „ „ ‛ ts mittee of Vagleich
The oide game that si
Do you can be sure that your nothing

The “sog” marks that Voodoo Jürgens arranges the memories of someone else and jumps between direct and indirect speech. We learn that the protagonist used to meet the poorest in Vienna with the host in the “Fuchzehntn”, ie the fifteenth Vienna municipality. Before you move over to think about a typical “hackler” (employee), Voodoo supplies details about the social background about detours.

Waunn’s enrolling is hod, hobts ​​as oak untrananund
Do would have an outlook in fish (pulled out the fish)
The enterprise San Green and A Every Hod is hockn ghobt

“Furniture” are conflicts which might be recognized with one another with out including the chief. The undeniable fact that enterprise has run and everybody had their work suggests a milieu belonging to the Viennese underworld. Their representatives, typically greasy petty criminals with Viennese allure, who both do their enterprise with black market items or are on the lookout for the good earnings with unlawful card video games in espresso home again rooms, are sometimes topic within the songs by Voodoo Jürgens, notably pronounced within the quantity “3 Gschichtn Ausn Cafe Fesch”.

In the case of “Ollas Nimma Dein’s”, the protagonist, maybe a legal or a “strizzi” (pimp) of his nostalgia. With the sign phrase “enriching”, the Ansa breading begins to play, and the slowly painted violin awakens a sense of melancholy.

What now follows is the look again on a biography in a descent. We be taught that the protagonist sees his affect on the Vienna asphalt, contemplating a brand new technology of delinquent. Voodoo goes from the understandable realization that these days can now not seem “ButtaWach” (High) within the “Hockn” (work). Some colleagues have died, others locked up.

Then when the refrain, “Sche Laungsam is des Ollas nimma yours”, sounds, immediately feels sorry for the particular person on the park bench, of which one, as unspoilt you simply really feel, doesn’t wish to know what it has on her conscience. You don’t need the loneliness that sounds via repeatedly. You nearly really feel while you describe how new individuals displace the previous high canine on the Viennese belt.

But without end runs ned and it sads wia the wiafln gfoin
For your Oglest haums haums (The Vienna Gürtel is probably the most busy avenue in Vienna and a nicely -known drug dealing with)
The subsequent recreation Hod Si is necessary
You sucked it’s obnormal that on hosts nonetheless aundan
And you recognize extra into your common restaurant

One thinks of younger petty criminals who disregard the principles of the outdated legal commerce that use street enterprise with designer medicine floods and encrypted cell telephones. At the tip of the music there may be an outdated, damaged desperado that may now not be swapped for a number of glasses within the tavern – most likely as a result of most of them have been locked since Corona.

With this music, Voodoo Jürgens unusually dissolves the space that exists actual between the semi -silk protagonists and his culturally listeners. In city biotopes comparable to Vienna or Frankfurt, you lose a view for the opposite far too rapidly. This requires artists who don’t stylize such international voices, however take their peculiarities appropriately. Anyone who perceives Voodoo Jürgens’ songs as a satirical statements of an extended -extinct social class has didn’t do their core.