Viennese Waltz in the Moshpit of Vanities
Vienna is different. At least that's what the city marketing claims, and anyone pushing through the Court of Honor at Schönbrunn on a Saturday noon knows: Vienna is above all loud, crowded, and one single giant selfie museum. This is exactly where Ratlehole start with their latest single "Franz and Sissi - Back To Schönbrunn". Where other bands romantically glorify the imperial past or bluntly deconstruct it, the European virtual metal combo chooses the path of total satirical exaggeration. The track is an acoustic wrecking ball served with a smile – garnished with whipped cream and double bass. It is the soundtrack for that moment when you realize that imperial splendor is merely a backdrop for the global tourism stream.
The intro takes no prisoners. A deceptively gentle violin motif, reminiscent of the New Year's Concerts, is brutally sawed apart by a riff as dry as a three-day-old doughnut. Ratlehole prove their fine sense of dynamics here. They know exactly when to serve the kitsch, only to stomp it into the ground seconds later with thundering drums. The production is surprisingly transparent; every instrument has its place in the mix, which is not a matter of course given the density of the arrangements – symphonic elements meet thrash influences.
The Empire Strikes Back – But Differently
Lyrically, we move on a fine line between nostalgia and dystopia. "Schönbrunn, Glühwein und an Kaiserschmarrn - wie habe ich das geliebt" (Schönbrunn, mulled wine and a Kaiserschmarrn - how I loved that) sounds initially like typical wine-induced Viennese melancholy. But the break follows immediately. The "tourists crowd like locusts" are the central image of the song. Ratlehole address the alienation of the historical site. The Emperor returns, but he finds no people paying homage to him, but a mass viewing him through "magic glass" (smartphones). This metaphor lands. The neon uniforms mentioned in the lyrics are the functional clothing of modern pilgrims who have come not for history, but for the perfect Instagram spot.
Musically, the band underscores this hectic pace with tempo changes akin to whiplash. The chorus "Gloriette burns – the sky turns red" is an anthem that should cause absolute escalation live (provided the virtual musicians ever stand on a real stage). Here, classic heavy metal merges with an almost operetta-like drama. It is this specific "Comedy Metal" approach that Ratlehole have perfected: The music is craft-wise serious, but the content breaks expectations with a wink.
Visual Anarchy: Emperor Franz in a Laser Storm
Let's get to the visual centerpiece of this release. The music video is a prime example of how to let historical strictness collide with digital madness. We see the protagonists as 3D-animated figures stumbling through a hyper-realistic but completely over-the-top Schönbrunn of the year 2025. The contrast couldn't be starker: The elegant Sissi and the stoic Franz Joseph, trapped in a world of selfie sticks and neon lights. Particularly strong is the scene where the Gloriette is illuminated not by the sun, but by an absurd laser show, while the band – or rather their avatars – performs on the roof.
It is this visual language that lifts the song to the next level. Ratlehole use the possibilities of animation to do things that would never have been approved in a real shoot at a World Heritage site. Fireworks over the Neptune Fountain while the Emperor plays air guitar? In reality a bureaucratic nightmare, here a visual feast. Before we dive deeper into the cultural analysis, you have to see this spectacle to fully grasp the irony:
Watch how the monarchy crashes into modernity:
Between Viennese Charm and Metal Riff
After the visual overkill, it is worth looking at the cultural component. Why does this song work so well, especially in Vienna? Because Vienna is a city that loves its own morbidity and pomp, but grumbles about it at the same time. Ratlehole capture this "grumbling" (Raunzen) and translate it into metal. When the lyrics proclaim "Ignor the noise, the world’s profane!", that is the primal Viennese retreat into the private, into the Biedermeier, while the world burns outside. Only here, the world isn't burning, but tourism madness is raging.
The band members – led by the fictional characters Lex Alpen and Vera Vale – act with a precision that would suit many real bands well. The "Fast Waltz of Madness" is not just a lyric line, but the rhythmic foundation of the song. The 3/4 time signature is hinted at again and again, only to be overrun by a 4/4 stomper. This is musical satire at the highest level: The waltz is not cited to be pleasing, but to underscore the absurdity of the situation.
A Conclusion in Gold and Steel
Is "Back To Schönbrunn" just a gag or serious music? The answer is: Both, and that's exactly what makes it so good. Ratlehole prove that comedy metal doesn't have to be silly. The composition is dense, the lyrics are cleverer than they seem at first glance, and the production packs a punch. For fans of bands like Nanowar of Steel or the theatrical moments of Ghost, this track is a real treat.
Vienna has a new anthem, even if it is one that city officials might not print on their advertising posters. But perhaps that is exactly the most honest declaration of love to this city: To take it as it is – loud, overrun, but at its core still majestic and a bit crazy. Emperor Franz would probably turn in his grave, but only to tap along to the beat.
