ALL DIE WEIL ICH MAG

After their highly successful debut album (artistically anyway), Ougenweide suffered their first two departures with both female singers leaving. The outstanding Minne Graw replaced both Kollmorgen and Blunck, and the line-up would remain stable for the next few years.

The least we can say is that the noticeable visual line-up change was almost inaudible sonically-speaking as this second album (while not a carbon copy) is rather similar even if less Fairport Span, and slightly more medieval and more even. As the tracks unfold their medieval ambiances, the album also appears less electric (but Ougenweide's albums never really were electric, anyway), more reflective and even more authentic than the debut. Again, Malicorne comes to mind, sometimes Harmonium (on the instrumental Fur Irene) or The Amazing Blondel where they get baroque on Rattenfanger. The good thing is that the album avoids a bit the "Celtic Jigs" clichés (only Ich Spring comes close), but the album avoids getting repetitive. Bassist-keyboardist Stefan Wulff (excellent electric piano on Fur Irene) is again the key member of the group, with his irresistible bass lines. The highlights are the two lengthiest tracks, the great Der Rivale (the rival) and Der Blinde Und Der Lame (the blind and the mute), where the group gives itself room to expand musically with a great flute solo.

Yes, this album has less of "rock feeling" and is much more pre-classical oriented, and it is usually considered their best, even if their first four albums are all outstanding. This album came in a gatefold with the Middle High German lyrics and its modern German translations both printed on the inside fold. Purer medieval, slightly more progressive, but very marginally better than its predecessor, this album exudes authenticity and commands solemn respect in regards to the performance. A must.