HOELDERLIN

Comparisons to early Renaissance have been made but HÖLDERLIN sounded uniquely German mostly due to the fact that unlike the majority of other bands of the day chose to use the German language for its lyrical output. The band featured a rich tapestry of sounds with Christian Grumbkow on guitars, Joachim Grumbkow handling cello, acoustic guitar, transverse flute, piano, organ and mellotron, Christoph Noppeney brought to life the violin, viola, flute and piano with Peter Käseberg on bass, acoustic guitar and vocals along with drummer / percussionist Michael Bruchmann. In addition three guest musicians add touches of sitar, tablas and the recorder. The seven songs featured added up to about 35 minutes of playing time and displayed a very charming diverse yet cohesive mix of atmospheric symphonic rock, medieval folk, progressive rock and psychedelia.

The album was heralded by critics for being extremely unique and in many regards its was. Despite being fixated on a progressive folk trajectory, the album featured a much wider array of instrumentation than the usual prog folk album and featured very complex arrangements and to make it even more unique in the English language marketplace, all lyrics were performed in the German language but despite that the album received excellent reviews from the music press in both Europe and the USA. Apparently the intoxicating blend of lush acoustic guitars with strings, woodwinds soaked in mellotron was the perfect soundtrack for that idyllic fusion of folk, classical and rock. The grand finale was the knotty prog-rich "Traum" which offered the most demanding workouts of the entire album as DeRuig stepped out of the singing spotlight in exchange for a bonafide instrumental assault of the senses, a most satisfying conclusion to a beautifully constructed album.

While being cited as a unique contribution to the world of German progressive music, that would be true even within the band's own discography because lead singer Nanny DeRuig would exit the band after this album due to her pregnancy and after a three year break due to a meltdown with management, HÖLDERLIN returned with a completely revamped style that focused less on the folky aspects and more on the world of symphonic prog including a deemphasis of the vocal aspects. The band also took on a more British sound leaving this drifting debut to exist in a world all its own. While never repeated, this first album delivered an excellent slice of sophisticated prog folk embellished by occasional heavier rock elements. DeRuig performed the perfect vocals for the style and the musicians played together seamlessly with clever intricately designed composiitons. Definitely a highlight of the so-called Kraut-folk scene of the 1970s.

The album opens with the high-intensity 7-minute instrumental, "Schwebebahn," which sounds like it could be right off "Larks Tounges In Aspic," by KC. The song is mainly an extended jam of mellotron, congas, bongos, and other various other percussive instruments over a thumping bass line. The jam features our first glance into the outstanding viola work of Christoph Noppeney. After the opener, we are introduced to the most popular song on the album, "I Love My Dog." The beginning of the song is pretty basic and weak, with poor lyrics. Around the 3:00 mark, the song begins to take a turn for the better, with the flute, Wurlitzer, Hohner Clavinet, and heavily distorted space guitar all entering the mix over drums. The song closes with an impressive 2-minute sax solo from "Zeus" Held. Side 1 ends on the 8-minute track "Honeypot." After an interesting acoustic guitar intro with flute and low vocals, piano chords bring the song into a faster acoustic section during which the drums pick up. The vocals improve and the song gives off a total Greg Lake guitar vibe. The repeats the transition piano chords with dissonance before transitioning into one of the best viola parts on the album, over heavy synths. After an extended instrumental section with an awesome viola solo, the song turns more uptempo and ends on a major chord.

Side 2 opens with the shorter ballad, "Nürnberg." The song's lyrics are actually pretty funny if you listen closely, and tell a tale of a guy who likes a girl and doesn't want to talk to her, so he loses her twice in one Sunday night. The song has really nice piano with guitar and warm Wurlitzer. Soft drums pick up toward the end and the song ends on a happy note. But alas, this song is merely a primer for the 17-minute epic "Deathwatchbeetle," that follows. This song is the most reminiscent of Genesis on the album by far, clearly drawing tons of inspiration from "The Lamb Lies Down On Broadway" (which was released just a year before). The begins with menacing piano in an odd time signature, accompanied by horns which slowly make their way up the scale before a short clav and organ build which is already very Genesis-esque. For about a minute the song has a soft piano section before transitioning into the main theme of the song. Around the 4-minute mark, a piano arpeggio brings the song into what will become one of its best sequences. As the drums pick up organ and clav tones can be heard. At around 7:00 the song goes into a passage that shows the absolute engineering masterclass of Conny Planck who is able to perfectly pull off the Peter Gabriel Genesis vocal sound with effects and vocal fluctuations, before recording a synth solo HIMSELF for the next section. The song goes through many variations and sequences based on the main theme before landing on a jumpy progression that transitions into the epic ending with a heavy phaser, organ, and vocals.

This album is very impressive and shows the absolute virtuosity of this band. I think I would've given it a 5-star if some of the sections on "I Love My Dog" were stronger and there were fewer wandering acoustic passages on many of the songs. The production and studio engineering on this record is really stunning for by who it was recorded. The album art on this record is also very good and was actually created by guitarist Christian Grumbkow himself. Highly recommended it to fans of Genesis/KC as this record is less folksy and has a more conventional symphonic tone to it.

Guest appearances on the LP feature Peter Bursch and Mike Hellbach of Bröselmaschine on sitar and tablas respective, and Walter Westrupp of folk duo Witthüser & Westrupp.

Listening to this LP, one is consumed by a dream-like, hazy quality that fills the air--aligning with its title. The first track "Waren Wir" (Have We) starts everything off in a lovely slow beat with straining violin cries and a moody vocal by Nanny DeRuig asking "have we not been here once before?" It abruptly shifts gears to a faster beat, as if the dream has suddenly changed and now the heart races. A spoken word conclusion states "And you see rooms sealed with glassy tears, you play--shut away--with the shadow of your scream."

This group named themselves after a famous German poet/philosopher and this is evident in the way they present their songs so poetically and as if in a dream state. In "Erwachen" (Awakening) "leaves laugh in the trees, they die, boats wander drunk through the hours." Pastoral acoustic guitar lines bookend the marching beat in the tune "Peter", and sitar and bongos create a lovely tapestry on "Strohhalm." "Requiem für Einen Wicht" is a dynamic and invigorating ode. It at times is a lullaby and other times is frantic--changing tempo and mood while telling it's sad story of oppression. The lonely but resolute protagonist in the story drowns in woody flute melodies and long soft violin notes.

Throughout the LP there are strains of Fairport Convention or The Incredible String Band, and small ensemble instrumental music of the renaissance period--all through a German lens. Highly recommended and an essential listen for fans of Folk-Prog, Freak-Folk or Acid-Folk, and Krautrock.

"Schwebebahn" is the opening instrumental that they would open many a concert with. Solemn piano to start with drum rolls but soon the viola is soloing over top. So good! Mellotron after a minute as the tempo picks up, guitar too! A calm before 2 minutes but it picks again with percussion and bass then it builds. The drums are active with percussion as the viola comes in over top again along with the mellotron. It ends like it began. What an opener with tons of mellotron in that Symphonic style.

"I love My Dog" is a folky piece with some guest alto sax. Acoustic guitar, flute and more to start as relaxed male vocals join in. A song about man's best friend. I love dogs! It picks up after a minute with drums, flute and acoustic guitar leading. Vocals and that folky sound are back after 2 minutes. Contrasts continue. Great sound 3 1/2 minutes in with those soaring vocals. A sax solo after 4 minutes continues to the end.

"Honeypot" is another folky tune with almost spoken vocals as he tells us the story. This is cool. Acoustic guitar and flute to start as those vocals join in. Some passion before 2 1/2 minutes with the instrumental work as the vocals step aside. The violin starts to light it up and the mellotron joins in as well. I like the intensity after 4 1/2 minutes. It calms back down around 6 1/2 minutes with violin, piano and more. Vocals are back before 8 minutes and there's humour in those words.

"Nurnberg" has a real GENESIS vibe to it even the vocals somewhat. Piano, a beat and acoustic guitar help out on this folky piece.

"Deathwatchbeetle" is the side long closer clocking in at 17 1/2 minutes. Interesting that Conny Plank helps out with the synths and vocals here. Yes it gets a little experimental during those sections Plank helps out on not surprisingly, giving us a taste of that Krautrock spirit. It's catchy with piano, drums and more before settling in as bass and synths help out. A calm with piano only then the viola joins in. Vocals before 2 1/2 minutes as it picks up again. It settles again as the tempo continues to shift. Some organ after 7 minutes and more depth of sound before 8 1/2 minutes. Great section that goes on and on. Vocals return 11 minutes in as it settles back again. Some dramatic sounds(Plank) 13 minutes in. It starts to settle down before 14 minutes then vocals return and a Symphonic sound takes over. Mellotron! How uplifting is this before 15 minutes. Oh my! Some theatrical vocal expression(Plank) and sounds late as it winds down. Suddenly at 16 minutes it kicks in again with vocals for a big finish.

I haven't hear any of their music beyond this but I highly recommend the first two albums.

For a german band the vocals are really great. Because George Noppeney is british (my guess) the vocals by him are without accent. Not that I care, I love german accent just as much, but most of the time that's is the complaint by listeners of Eloy, Jane, Kraan etc.

Back to the music. There's not only a lot viola in the music, but flute aswell and there's even guests on sax and clarinet. You could say this band is more an eclectic progband with all the different kind of songs and arrangments.

The production is really top. Conny Planck has managed to create a sound that stays fresh even after 43 years. My favorite songs are the more pastoral-sounding Honeypot and I Love My Dog. The lyrics are really sweet and heartwarming and the music is almost Canterbury-style romantic.

This albums is highly recommended to people who love Caravan, Supersister, Kraan and Cressida.

I only recently discovered this band. They craft perfect eclectic progressive rock with psychedelic and canterbury- stylistics. The band is labeled as progfolk, and although there's some folk-influences, it's mostly progfusionrock.

What sets this band apart from so many other progbands is the viola. Caravan is the only other band with viola (Geoff Richardson). A viola is somewhere between the violin and cello. So somewhere between uplifting and depressing: the perfect balance.

Because th band has three vocalists, it all adds to the colour of the sound. Apart from the singing (wich is really great) there's lots of instrumental play. If one would say Hoederlin was a canterbury-band I would have believed it. The only other bands from Germany from this era that come close to this high standard is Kraan.

I also love all the Hoelderlin artwork, and this one is again very tasteful!

The addictive `Somebody's Callin' is a chugging groovy opener full of propulsive momentum due to both Hans Bäär's relentless and unceasing thick murmuring bass and the constant powerful driving beat from new drummer Eduard Schicke of the sublime symphonic group Schicke Führs & Fröhling. Tommy L'Ohr offers a reliable vocal, but more importantly his and Rüdiger Elze's guitars smoulder and wail through the entire track, delivering protracted soloing in the final minutes. The supremely likable `I Want You' is a peppy and unashamedly cheerful AOR rocker with nice ringing twin guitar melodies, and damned if the sun-kissed chorus wasn't blessed on high by the gods of pop! `Cold Winds' is a tasteful low-key shimmering electric piano ballad with a humble vocal from Christoph Noppeney off Hoelderlin's `Rare Birds', and despite a slightly pained lead vocal from Tommy, `Gentle Push' instantly calls to mind mid-Seventies onwards Camel with its silken rising guitar soloing, plus the warm repeating group vocal refrain is very pleasing.

But fear not, prog-freaks, side two's `High In Shanghai' delivers the first of two instrumentals, with this undemanding yet interesting six-minute one having a dreamy ambient intro, twitchy electronics and electrifying twin electric guitar themes with more dramatic bursts making it really not too far removed from what Camel would do on both `I Can See Your House From Here' and `Nude'. `The Shouter' is a soft pop piece with a gentle acoustic guitar melody that faintly calls to mind moments of Peter Gabriel's `Solisbury Hill', and `Footsteps' is a cute and harmless romantic popper with sweetly accented singing, chiming guitars and Camel-like breezy synth trills that is very easy to fall for, with a quietly ambitious and exotic middle instrumental passage. Closer `Weekend' also reminds of that same band again and manages to cram a lot into not even three minutes with its upbeat and victorious nimble guitar heroics and wisping keyboards.

Yes, there's a slightly dorky quality here and there, some of the vocals are a little unlovable and for many prog-snobs this is going to be far too straight-forward, but it's a hugely charming and undemanding disc, and one definitely recommended for fans of Camel's `Breathless' through to `Nude' period. Sigh...if only all commercial/lite-prog/AOR albums where as successful and enjoyable as this one is!

Three and a half stars (but personally it's a four!)

There's an unnerving King Crimson-like quality to album opener `Schwebabahn'. A doomy and eerie instrumental driven by searing violin, slinking bass and manic relentless percussion, the piece reaches hair-pulling intensity once the bristling Mellotron arrives, and there's even a little touch of classical drama too. The amusingly titled "I Love My Dog" follows, and, sure enough, it's an ode to man's best friend, a sprightly and foot-tapping warm acoustic folk ballad. Only those with hearts made of stone will fail to crack a smile upon hearing this jaunty number, Christoph Noppeney's heartfelt vocal, electric piano, murmuring bass, flute giving it an instant Jethro Tull-like feel. A few moments of well-placed electric distortion and a lively saxophone in the second half bring just a strange touch of unease. `Honeypot' is a dazzling mini epic that shines with symphonic sophistication and lush pastoral atmospheres. Delicate and pretty one second with moments of sweeping darker drama the next, it's dominated by Joachim Grumbkow's piano that alternates between breezy, jazzy passages and confronting and unsettling moments, with the whole piece about to spiral out of control by the end.

Joachim takes the lead vocal for the shorter interlude `Nurnberg', a sweet and brief acoustic guitar/piano ballad that opens the second side. With a stirring melody and fragile prettiness, the band shows perfect restraint for this little wonder. Then we reach the showcase of an already perfect album, the 18 minute symphonic epic `Deathwatchbeetle'. With lengthy and frequent tasteful instrumental stretches full of dashing moods and thrilling emotions, this extended closer is storytelling fantasy prog at it's very best, whimsical and exhilarating with light and darker moments all perfectly balanced. Intimidating piano stabs, rattling military drumming, droning horns, organ pomp, spacy synth implosions, reflective Mellotron fanfare pomp, swooning violin swoons and nimble-fingered guitar runs, with Peter Kaseberg's bass almost singing in delight throughout. Symphonic prog simply doesn't come any more grand than this.

Now available as part of a series of lovely CD reissues that cover their first several albums, be on the lookout for the remastered disc of this one that adds a dirtier sounding yet no less impressive live performance of `Deathwatchbeetle' from 1974. Hugely captivating, displaying supreme taste and talented musical skill throughout, `Hoelderlin' is an essential title for symphonic prog lovers. Also, if you're a fan of the first album, don't ignore this one and their next few, or you'll be missing out on some essential Seventies prog albums!

Four and a half stars.

The masterful instrumental "Schwebebahn" starts out with highly infectious mellotron swaths sliced by inspired viola surges recalling vivid King Crimson influences, especially the thrilling percussion onslaught that defines the Bruford/Muir cooperative. This workout would fit very nicely on either Larks Tongues in Aspic, Starless & Bible Black and Red.

"I Love my Dog" tips the scales in a completely opposite direction, a pure, lightweight folk song about a pet canine, a heady mix of Jethro Tull (the flute), The Strawbs (the vocals) and Cat Stevens (the sound). The instrumental breaks are all very spacy and intense, creating a wonderful sense of contrast, revealing a delirious desire to go beyond the norm and progress. Zeus B. Held's fabulous sax solo illustrates this yearning with conviction, and another future famed producer in Conny Plank supervises the pristine sound.

The divine "Honeypot" keeps the mood pastoral, a pleasant vale lush with green fields of sustenance, sparkling piano, a slow building whirlwind tornado propelled by the ultra-busy rhythm section, the prominent mellotron squalls and the ebb and flow of contrasting sonic weather patterns. Guest Norbert Jacobson intervenes on a brief clarinet cameo. This is perhaps my favorite piece here, a crafty composition full of wonder and amazement.

"Nürnberg" is sweet and delicate, short and hummable, highlighted by both Grumpkows on their respective instruments. As cute as this pice is, it only serves to introduce the epic tour de force that closes out the album, the sweltering 17+ minute "Death Watch Beetle", a perfect osmosis of what Hoelderlin does best, all the ingredients falling into place, conjuring up detailed images of intense serenity and storytelling of the highest order. The viola gets a long and thorough workout, ably assisted by the seductive acoustic guitars. The delicate piano work is concert hall quality, a truly impressive performance, as both vocalist share the microphone, though it must be stated that the accent is quite light and will not detract from the music being presented. Need I repeat the sensational work by drummer Bruchmann? Okay, I will, then!

The cover is one of my all-time favorites, honestly one of the reasons that compelled me to hunt this one down in the first place.

4 Volkswagen

This was another collaborative work stylistically speaking, combining the complex and fiery side of Kraut Rock with the delicacy of British Symphonic Rock in five long compositions, although the resemblances with GENESIS become here even stronger with the vocals of Jochen Grumbcow sounding now extremely similar to the voice of PETER GABRIELand the guitar touch of Christian Grumbcow closing more and more the STEVE HACKETT sensitive tunes.Even this way the music is top notch with pronounced folky vibes and emphatic instrumental deliveries with both complicated and elegant parts.Moreover there are also plenty of intense, lyrical moments surrounding the good musicianship of the band.Each track contains lots but tightly linked variations, evolving from laid-back overtones with a theatrical atmosphere to dense instrumental textures with nice interplays.These are characterized by some excellent violin work of Classical nature, smooth flute passages and the monster work of Jochen Grumbcow on keyboards, switching from jazzy electric piano to orchestral Mellotrons and from atmospheric synthesizers to irritating organ moves.As a result ''Clowns & clouds'' fails a bit in terms of originality, but still offers some great moments of professional music and well-crafted arrangements with a huge instrumental background.

Typical 70's Classic Prog by Hoelderlin.Adeventurous, demanding, rich but still melodic and poetic.Far from trully personal, but the contained music is absolutely sufficient and impressive.Strongly recommended...3.5 stars.