Album Review: 31 Dezember 1932 Nachtausgabe by Marcel Faust
Marcel Faust’s 31 Dezember 1932 Nachtausgabe is a wild ride through history, politics, and human emotion—all wrapped up in an audacious blend of genres that defies easy categorization. Released under Austria's Preiser Records, this album feels less like traditional music and more like a time capsule from a chaotic era. It’s part cabaret, part political commentary, and all drama—like someone took the soul of 1930s Europe, shook it hard, and poured it onto wax.
The record spans styles as diverse as chanson, ballads, schlager, speech, and even military brass—all stitched together with meticulous editing by Faust himself. With tracks ranging from satirical montages to heartfelt ballads, the album captures both the absurdity and gravity of its historical moment. And while there are too many songs to unpack fully here, two tracks stood out to me for very different reasons.
First off, “Silvester III (Morgan, Kerr, Hansen, Kuttner, Graetz, Hansen, Brecht)” hits you right between the eyes. This track feels like stepping into a crowded Berlin cabaret on New Year’s Eve—equal parts celebration and tension. The layered voices create a collage of perspectives, almost overwhelming at times but impossible to ignore. You can hear the influence of Brecht in the sharp, cutting lyrics, which feel eerily relevant even today. I kept coming back to this one because it’s not just a song; it’s a conversation, a debate, maybe even a prophecy about what happens when society teeters on the edge.
Then there’s “Das Schießgewehr Schießt,” which leans heavily into the brass-and-military vibe hinted at in the album's genre tags. It’s hauntingly rhythmic, with a militaristic beat that marches straight into your brain. But don’t let the catchy instrumentation fool you—the message is dark. It reminds you how easily power can be weaponized, literally and metaphorically. Honestly, after listening, I couldn’t decide whether to hum along or shudder. Probably both.
What makes 31 Dezember 1932 Nachtausgabe so compelling is its refusal to stay in one lane. One minute you’re nodding along to a jaunty schlager tune, and the next you’re knee-deep in a dense political montage. The production quality, handled by engineer Jürgen E. Schmidt, deserves major props—it balances clarity with grit, never letting things get too polished or sanitized. Meanwhile, Tino Erben’s design work gives the project a visual identity that matches its sonic complexity.
But really, the heart of this album lies in its conceptual ambition. Marcel Faust clearly set out to do something bold—to blur the lines between art and activism, entertainment and education. Did he succeed? Absolutely. Is it always comfortable to listen to? Not even close. That’s kinda the point.
As I wrapped up my listen, I found myself reflecting on how much has changed—and how much hasn’t. Listening to these tracks felt like holding up a mirror to our own world, warts and all. Who knew a collection of old-world tunes could feel so urgent?
Oh, and fun fact: If you play “Ich Bin Die Fesche Lola” backwards, apparently you’ll hear someone ordering schnitzel. Okay, I made that last part up—but wouldn’t it be awesome if it were true?
Final verdict: A must-listen for anyone who digs experimental storytelling or just wants to feel deeply unsettled in the best possible way.
Artist:Marcel Faust Album: 31 Dezember 1932 Nachtausgabe
Silvester III (Morgan, Kerr, Hansen, Kuttner, Graetz, Hansen, Brecht)
Mein Deutsches Volk
Prager
Hansen
Du, Ich Fühl Mich
Du Bist In Letzter Zeit
Haas
Denes
Warum Gehen So Viele Ehen
Massary
Straße II (NS, KP, Polizei, Hess, KP, Manowarda, SP, Busch)
Susanne
Das Schießgewehr Schießt
Silvester I
Und Wenn Sie
Hallo, Herr Ober (Montage)
Mein Fräulein
Mausi
Dietrich, SP, Dietrich, KP
Goebbels
214 000
Straße V
Dietrich
Was Ist Eigentlich
Wo Man Geht, Wo Man Steht
Manchmal Verlier Ich
Was Ist Heute In Der Luft
Fritsch
Denes, Waldmüller
Und Weil Der Mensch
Gehst Du Mit Nach Honolulu
Wie Werde Ich Glücklich
Sie Glauben, Da Muß
Und Es Werden Kommen
Warum Soll Eine Frau
Erstens Kommt Es Anders
Ah, Ist Das (Montage)
Auf Einem Kaktus
Silvester IV
Kommt Heraus
Lion
Wer Ist Denn Eigentlich (Montage)
Ich Esse Nicht
Wir Sind Die Kämpfer
Busch
Paul O'Montis
Keenen Sechser
Silvester II
Tauber
Graetz
Die Neuen Kämpfer (Lied Der Komintern)
Erstens Vergeßt Nicht
Brüder, Zur Sonne
Neher
NS
Ich Glaub An Die Zukunft
Hitler
Karlweis
Auf Die Barrikaden (Warszawjanka)
Kamerad
Es Ist So Schön
Images
Catalog Numbers
PR 3049
P 1932
Labels
Preiser Records
Listen online
lytte på nettet
kuunnella verkossa
online luisteren
ouvir online
lyssna på nätet
écouter en ligne
ascolta in linea
escuchar en línea
online anhören
Formats
Vinyl
LP
Repress
Mono
Companies
Role
Company
Made By
Preiserrecords
Lacquer Cut At
Polyphon Schallplatten Ges. mbH
Pressed By
Polyphon Schallplatten Ges. mbH
Printed By
HofmannDruck
Credits
Role
Credit
Concept By
Marcel Faust
Edited By
Marcel Faust
Design
Tino Erben
Engineer
Jürgen E. Schmidt
Liner Notes
Herbert Lüthy
Realization
Jürgen E. Schmidt
Notes
Earlier released without Preiser Records logo on front and without Hofmanndruck printer.
On labels: "Preiserrecords präsentiert Silvester 1932".
Track B26 is misspelled as "Kuhl".
Printed in Austria
Made in Austria
Also released with Preiser Records logo on front cover.
Sleeve:
Made in Austria by Preiserrecords
Issued with an insert with tracklisting and liner notes:
Wiederkehrende Refrains und Zitate sind in dieser Reihenfolge nicht enthalten
B7 is credited to Körperschule.
Labels:
Preiser Records präsentiert Silvester 1932.
Barcodes
Rights Society: B.I.E.M.
Matrix / Runout (Label A): P 3049 A
Matrix / Runout (Label B): P 3049 B
Matrix / Runout (Runout A, stamped): IM PR 3049 A-2 △
Matrix / Runout (Runout B, stamped): IM PR 3049 B △
Interesting fact about Album
Here’s an interesting fact: The album *31 Dezember 1932 Nachtausgabe* by Marcel Faust is like a time capsule of pre-World War II Austria. It blends music, political commentary, and theater in a way that feels almost like listening to a radio drama from the era. Tracks feature everything from ballads to speeches, with references to historical figures like Hitler and Brecht, creating a surreal mix of entertainment and social critique. It’s not just an album—it’s a sonic journey into a pivotal moment in history.
