Two guys meet on the street, only know that they know each other, but not exactly who they are, and talk past each other for a while, “Da Dings” and the other one, and in the end Voodoo Jürgens turns this nothingness into a song to which the background choir oohs so much that Roy Orbison lounges comfortably in his grave. For the fourth time, David Öllerer, who is now also a successful actor, sends his fictional character Voodoo Jürgens out into the world, only to end up in his own abyss. With each album this fictional character became more clearly defined, with GSCHNAS it is now fully formed.
What was often tentative and strange before is now more confident and straightforward, Ludwig Hirsch has now become Wolfgang Ambros, a rickety chair from the flea market has become an elegant leather armchair, and “Vaschwindn” is almost an effervescent “Born To Run”. In “De an und de aundan” there are broken pieces on the street again, because life is dangerous, but broken pieces also bring happiness, and this dose of dialectics is the smallest exercise for a Viennese: “You can forget everything, but you can’t forgive everything.” A very Viennese philosophy, which is already laid out in the album title: Gnasch is junk, worthless stuff, but also stands for a masked ball.
Öllerer pays homage to insomnia (“Ka Ruah”), sends “Kassiber” to a lost love and forges grandiose metaphors such as that of self-doubt, which is like home-made schnapps (“Da Zweifl”). Voodoo Jürgens celebrates the grandiosity in insignificance and is now finally the most Viennese of all Viennese songwriters; he sinks into self-pity with style, but never into clichés.
