How filleted the Austropop ...

There was a time when the Austropop was young and original. Songs with unspent, life-like subjects, held in all facets of the Austrian dialect. From the large, sprawling sky high poetry of André Heller the ranged up to the most basic findings from the gutter of Tschik cast of Georg Danzer in songs. And in between was its own little world to the image of Marianne Mendt, Arik Brauer, Wolfgang Ambros to Ludwig Hirsch, Sigi Maron, Stefanie Werger everyone had to contribute a few tesserae.
There came a time when the Austropop had established itself. There were other performers after, about STS or Rainhard Fendrich, and supported by the great Ösi station Ö3 radio program the little world continued to grow, could also with one or another stylistic Grenzgänger additional points as the first general uncertainty or Falco. Internationally, in particular course in Germany, the Austropop had arrived.
The times were transformed and the Austropop was stale. Eventually it became clear that the originally very open-minded style is revolved increasingly around itself. Artist of Austropop fertilized almost exclusively each other and took the large developments outside their own circle Dunst just a blur. What seemed initially so easy, loose and realistically, degenerated into an embarrassing distorting mirror of himself. In the mid-90s the station Ö3 consistently Austropop banished from its frequencies, this was the overdue coffin nail for this long too smooth, too complacent and harmless become style.

Now in 2015 do after a first tentative attempt two common songwriter for a complete "Austropop" album together that have nothing to do with this. Schummerkneipenpoet Ernst Molden suffered shipwreck with his debut, just as his program Ö3 Ground surrounded, making it him - perhaps fortunately - not managed to gain a foothold quickly in the domestic scene. Thus, he is old enough to have noticed much of the Austrian pop classics at the time of their appearance. The almost 20 years younger Nino from Vienna, who due to age is the Austropop be found at his side could approach only from the historical point of view. Both found that among many ingratiating arrangements were fairly good or unusual songs that sometimes lead a shadowy existence. Hardly anyone paid attention to Ludwig Hirsch "dwarf" as its "big black bird" looks could wander either thereacross or "I lie on Ruckn" under him through. Falco's attitude buried the remarkably clever text of "night flight" Sigi Maron Scratch Brushes poetry ensured that his reputation only slightly exceeded the Austrian borders. But - the songs are good, and then Ernst Molden and Nino accounted for Vienna on them to remove dust on the one hand and the other hand to free the partly very heavy euphony to return it again to the corners where they arise - or even have may arise.

With the exception of one song (the abschließenen "green forest of Meyerling") remains in the two occupation Molden / Nino. Two guitars, this sometimes electrically amplified, and two voices, possibly even a harmonica - that's enough. Suddenly Danzer's "suburban Casanova" clearly run-down, the text's humor still greasy and the shadowy figure with its handle knife prepare even more tangible, realistic effect. The existence in Wolfgang Ambros' "Espresso" affected even more desolate and receives a subliminal aggression, perhaps comparable to the desire at last awaken the life and not to let it go by impassively. When said "Nighttime" is pushing the oft-overlooked text forcefully into the consciousness. André Heller's "Lilliputian" rejoices not from above like a firework, but sticks to the ground and looks more longingly up at the lights in the sky. And along the way it is being proven that Maron not only scratching but also stroke. Ernst Molden and Nino from Vienna brush the songs extremely rugged, partly deliberately slanted and inharmonious against the grain, they defoliate so as to expose the poetry of these pieces. Clever lyrics and beautiful melodies need to operate no glossy robe, as already demonstrated doyen Tom Waits. On the contrary, it even sometimes you need something external, the so shabby, used and unloved looks like the tattered Austrian flag, the Ernst Molden clarified shoulders on the cover of this album, to draw attention to unfamiliar facets or to shift the focus of perception. Looking at "Our Austria" From this point, the album is roundly succeeded because the cover versions have so little in common with the Bank with the originals that you sometimes a bit confused and disoriented as wrinkles Austropop connoisseur forehead because behind a well-known title seems to hide a rather unknown work. This album makes sure that you partially or completely rediscovered certain songs, maybe even to reconsider their attitude to the original pieces, the authors retrospectively concedes the ability to have incorporated into their songs false bottoms, which are visible only with the new interpretation.

"Our Austria" despite the song selection is not a tribute to the Austropop, rather, Molden and Nino individual pieces of authors pick out which one brings in the first place by the term "Austropop" in connection, whether Falco, Danzer, Ambros, Maron, Heller or deer hot, and show their skills as author by lay bare the songs to the bone and they kidnap from the waxed Erten (pun unintended) glossy studio in a small, modest backyard rooms. For those who consider the Austropop with a disparaging glance, they appear to prove that this also unembarrasing pieces had to offer, and all who want to the "classical" approach Austropop but against all reason still, you put your heart, not to be blinded by bright facades, but also looking back behind and look for substance and significance. Both will certainly - and if you realize with what passion are the two performers in the matter, it is not surprising that even a continuation of the speech is - after missing a few names - such as Stefanie Werger ...
You just can not let go of the rougher shell Bange.