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Da oide Schlog - Mit voia Wucht Cover
Artist: Da oide Schlog
Label: Donnerwetter Musik
Release Date: 31-1-2020
Genre: Rock
People: Stefan Kolbeck (vocals, trumpet and guitar), Stefan Breu (vocals and bass)), Michael Pongratz (guitar), Alex Ritzler (drums)

Available On


1. Da oide Schlog
2. Grattler
3. Hoizbergschubser
4. Glutenfrei
5. Handwerksleid
6. Alois
7. Hell´s Omas
8. Da Deifi
9. Rehragout
10. Gstanzl
11. Dei Nachbar
12. Massenphase
13. Wurstsemmen
14. Schanierl
15. Bayernhymne

About Album

With charm and a large portion of wit, especially wordplay, this 15 track album by the Lower Bavarian band “Da oide Schlog” is really fun – provided you know a little bit of the Bavarian language.

Da oide Schlog“, track No. 1 of the record introduces in AC/DC style, then makes a U-turn and becomes a punky piece underlined with a blues-rock guitar solo, before it goes straight on to “Grattler“. With harmonica, blues rock and a trumpet solo. In “Grattler” (translated: bum, moron, antisocial and the like) the four guys sing about a person who calls the police for every little thing, doesn’t get up until the afternoon and even steals the plastic beer at Aldi. But as it is so in life, every pot finds its lid or in this case the Grattler, the suitable Grattlerin. Perhaps with this song it is quite good if one does not necessarily understand every word. In the USA explicit would probably be given.

Ska-punk continues – “Hoizbergschubser” is a groove-along number, which certainly works with the one or other beer in the beer tent due to the catchy chorus. Fun and entertaining number.

And then we suddenly land in the wild west and ride through the next track with “Glutenfrei“. In boom-chicka-countrystyle against the vegan-lactose-free-organic-madness.

Handwerksleid” – the next everyday madness that the band sings about here: problems with a lack of staff in the trades and overflowing order books. Faster number in familiar rock garb. A solid number ending on a fading guitar solo.

Alois“ – A tribute to Ludwig Thomas’ “Ein Münchner im Himmel”, which tells the clichés of the typical Bavarian with his humorous satire. Crisp, punky and entertaining number. And so follows “Hell’s Omas”, which is with 2:40 min also the shortest song of the record. In this piece the lyrics make the music, otherwise we don’t really hear anything else new, it resembles already known schemes of the previous numbers.

Da Deifi” a funk-tinged number. What’s the saying? The devil is in the details or brevity is the soul of wit. This number is a bit too long, repeats itself with the guitar solos and rather brakes the drive of the previous numbers at some point. Also, the guitar run in the verses is a bit too dominant and seems a tad simply knitted.

With “Rehragout” the drive picks up again. Punky, snotty sound and sung about the hunter’s suffering. Funny number about a Bavarian specialty with humorous sonic turn.

2:50 min is the next number and so it should be because a “Gstanzl” is in its typical form a short song in 3/4 time that is usually presented in four-line form without a chorus. Short, concise, homely.

With suspense it goes into the number “Dei Nachbar“, really rocks in the simply knitted chorus and invites you to bawl along, because anybody can probably remember the two words. What are my neighbors probably doing in the basement!? You won’t notice the runtime of a little over 5 minutes of this track.

And then comes a piece where you should already be able to understand the Bavarian language or at least know the beer size unit in Bavaria. “Massenphase” is in witty wordplay with crisp sound.

Let’s take a breath, lean back and relax for a few seconds with “Wurstsemmen“. Why does one have to think directly of the Eberhofer? Maybe because the “sausage breadroll”, the Bavarians’ mana and the Leberkäs’-Semmel are, at the very least, equal. A hymn to the sausage roll! Nothing for vegetarians.

Final spurt on the record and it runs like clockwork or like an oiled “Schanierl“. A calmer with acoustic guitar accompanied good mood song about the ying and yang in life.

Our Bavarian cultural journey ends with, how could it be otherwise, a cultural asset; the “Bayernhymne“. Played in crisp punk garb, this record ends in crescendo.

All in all, the record leaves a good feeling, especially because of the witty lyrics. Musically, it could be a little more refined at one point or another, especially because the creativity is sufficiently present, but on the whole, the songs work, are coherent in themselves and certainly a hit at every festival. Not only in Bavaria.

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