BUMERANG

Short soft rock songs. Don't expect any NOVALIS trademarks, nothing on this album can remind of "Sommerabend" or other band's classic. Probably there is something interesting in lyrics, I can't judge.

For die-hard fans and collectors only.

"Bumerang" offers a very slight return to form for NOVALIS in that at least the accent is on instrumentals, and indeed 3 of the best tracks are free of the entrenched pop song culture of the day. But don't expect another "Augenblicke" or even "Neumond", because most of the high points are simply likable, no more.

"Uber Stock und Stein", "Wien", and "Espresso" are all driving dance tunes with catchy guitar themes. While they might not have been much out of place on the floor of a disco in 1984, they do convey some aspect of the group's remaining talent if not their convictions. Admittedly, this impression is relative to the sickeningly lite-jazz ballads that suffuse the rest of the disk like so much high fructose corn syrup drizzled on baklava. Only "Nimm meine Hand" is noteworthy with its haunting melody and saxes. It's a song that puts me into a similar mood to the great "Fingertips" by CAMEL, from the same year. The sole upbeat vocal track is "Horoskop", and I can't help reveling in its feel-good hooks, but beware that it hovers rather below the detectable limit on your prog o meter.

It's amazing that NOVALIS was even still around in 1984, albeit slicing away at their legacy more than adding to it. By now it was clear that nothing, not even a boomerang, could reinstate NOVALIS anywhere close to its point of origin.

Due to noticing that the Novalis album `Bumerang' has been given a new CD release, I decided to give my old LP a spin and see how it turns out. Not having listened to it in years, but not remembering it too fondly, it seemed like a good time to revisit the album. By the time it came around in 1984, Novalis had constantly been refining and essentially removing the more interesting elements of their music. Here we're left with a stylish but somewhat bland fancy pop band very much influenced by much better prog/pop artists like Roxy Music, Queen and Genesis, and especially solo Phil Collins with plenty of awful bashing booming 80's drums.

Let's get one thing out of the way - this album could not be further away from the classic double of `Novalis' and `Sommerabend', but that doesn't mean it's completely useless. `Bumerang' is comprised of sophisticated 80's adult pop, three instrumental pieces (don't get too excited though, prog fans) and a couple of truly cheesy and wretched duds. The album has a super polished production, and it's well played with driving guitar work, upfront bass playing and forceful if basic drumming, while the keyboards/synths are used very sparingly. Vocalist Fred Muhlbock adopts a deep Bryan Ferry romantic croon which you'll either love or hate. To be honest, even on their earlier more progressive albums, I've always found him to be a wildly inconsistent vocalist.

Side A's `Nimme Meine Hand's has somber and eerie synths over the top of solo Phil Collins-style plastic programmed percussion. Drifting lonely sax, Fred's Bryan Ferry-like dark croon and eventually a massive stomping 80's drum beat kicks in and brings the piece comes to life. `Seitz Dich Zu Mir' sounds like a cross between The Police and Roxy Music with aggressive and super thick leaping bass and a dancing drumbeat. `Spazieren Im Morgan' is a placid ballad with a lovely lead vocal and pleasant flute solos - probably one of the better tracks. `Torero Der Nacht' has strange and bent spacey keyboards over more Roxy-influenced vocal beckoning. Sounds like something off their `Flesh and Blood' album.

Side B's title track `Bumerang' frequently gets your hopes up. The piece alternates between eerie synths and cold electronic sections that build a floating and mysterious atmosphere, while being obliterated by Bryan Ferry, oh, I mean Fred's come-hither yearning and more plodding drumwork. Probably one of the better pieces on the album that really had some potential. `Horoskop' is a boppy and bouncy cheesy dance number with an admittedly catchy pop chorus, but it's still vile and far too cheery. Only the oddly heavy and aggressive guitar playing and some sprightly bass moments keep it bearable...sort of. At least the band wraps the album with the more downbeat `Talisman'. Nice murmuring bass, glistening synths and a somber vocal. It's stylish pop for grown ups and actually displays a little bit of subtlety. More of this and the title track, and we could have had a much more satisfying album overall.

As for the three instrumental pieces, they're mostly insipid and vapid vocal-free rock with no real purpose. Not unlistenable, just completely shallow and empty, if kind of bearable. `Ubert Stock Und Stein' has a soaring but repetitive guitar line wailing over a horrid plastic drumbeat and handclap percussion, Alan Parsons Project style synth washes and chiming guitar. There's impossibly loud and echoing `In The Air Tonight' booming drum-solos throughout the second half too. `Wien' has disco-like funky guitar over wailing solos and more lifeless drumming. Much of `Expresso' sounds like an instrumental version of Queen's `Radio GaGa', but once again Detlef Job's confident and forceful guitar work gives the tracks a bit of taste.

I've always found it fascinating when prog bands try to attempt a balance between progressive inventiveness and commercial appeal. I didn't look on this album as an easy target for a 1 or 2 star rating, I really wanted to approach it fairly and consider it's strengths and weaknesses here. However, It's only fair to mark the album down for having far more pop elements than prog ones, and after all, this is a progressive rock website!

While `Bumerang' is far from a jewel in the Novalis discography, it's still a pleasant if undemanding sophisticated pop album with some tasteful arrangements, especially among the two or three darker pieces. You can still hear the talent of the musicians, even if what they're playing isn't overly involving or complex. It's nothing mind-blowing, but not bad for a pleasant background listen if you can forgive the 80's pop trappings and questionable trends present.

Two stars.

I continue with the tenth studio album of Novalis. I thought it to be afurther decline from "Sterntaucher" but I am glad to say it was not. The year after came "Bumerang", released 1984, today thirty years ago. The cover isn't directly interesting. It's very black and we see a shining church dome down in the middle.

Just as before the band cosists of Hartwig Biereichel, Detlef Job, Lutz Rahn and Fred Mühlböck. That has been a winning concept so why shouldn't they continue. With "Sterntaucher" though could you ask yourself why they did. "Bumerang" is the last release with Mühlböck on vocals and this time he does it well. There are no har rock screams but on this record he sings in tune.

The music of Bumerang isn't progressive and not especially interesting but it isn't the same disaster as "Sterntaucher". Many songs are rather appealing, especially on the b-side. Here we have the nice closing track "Talisman"(6/10), the pleasant instrumental thing "Wien"(6/10) and the faster and happier "Horoskop"(6/10). The title track "Bumerang" has a melody that differs in a positive way(6/10) and the calm song "Spazieren im morgen" with flute isn't bad either(6/10). The other songs are okey but not especially good. The good thing is that you'd keep listen and enjoy it. The least interesting song is the sleapy "rock song" "Torero der nacht"(4/10). Both me and you can demonstrate my rating of three stars to this record. Three stars for me could mean everything from an okey record to a good record. With more than five rating options this could have been more fair. This is also a marker I consider this slightly better than their latest.

I read somewhere that Novalis were forced to do this album quickly because they lost a lawsuit against the record company and had to deliver one more album than they had thought. I saw the band live at the time before I actually got the album and they still could deliver a great gig, but it was clear that the new songs couldn't keep up with the older ones. The band continued what they had started, slowly, already on Brandung and Clown, namely a conscious movement away from longer more epic songs to shorter pop songs. The new German "Neue Deutsche Welle" music at the time, which had started off inspired by punk and British new wave, had become dangerously close to the very cheesy old German "Schlager" pop with superficial lyrics mostly about love. On the previous records between Augenblicke and Sterntaucher, Novalis had already flirted with direct emotional but "soft" lyrics and corresponding sounds and melodies, which came over as authentic and mostly sympathetic, but with Bumerang they definitely landed on the wrong side, sounding rather cliched and cheesy. There is nothing of interest to a prog listener here, and even letting proggy expectations aside, I don't find anything special on this album. Some of the pop melodies and lyrics are even rather embarrassing. As usually, there is a handful of instrumentals on this album, which don't hurt much. "Ueber Stock und Stein" is the best and is at least closest to earn the description "rock", but even this one has some rather annoying disco influences. This is an album I can do without.