HOELDERLIN

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Some three years after having recorded a stunning folk prog album Holderlin's Traum, the group took three years to record and release their second album to label Pilz and Ohr going broke. Only in early 75, did the group (with a slightly rearranged name) finally got around to this excellent second album (on the collectible Spiegelei label), although fairly different-sounding and with their female singer De Ruig now gone.

The sound had definitely slid from a prog folk one to a more conventional symphonic tone, not far from Genesis (this similarity was not helped by the fact that they will sing in English from now on), but their music was not derivative. Although this album is rather a far cry from the hippy idealism of the debut, the group still has the same dedication to make excellent music, not least helped by multi-instrumentalist that allows for such instrument as flute, cello, violin to spice-up the sextet's music, with two guest on woodwinds and the ever indispensable Conny Plank at the production helm. If I say the sound is quite different, the progressive folk influences are still quite present at times. Too bad the artwork is quite amateur (done by guitarist Christian Grumbkow as will the two following album's artwork also), but his brother Joachim is also the main songwriter.

From the opening instrumental track (a head-twisting drama-filled scorcher and finishing in a duel with a symphonic orchestra) to the closing Honeypot (almost 9-min mini-epîc), side 1 of the vinyl is a very impressive show of great songwriting close to what the British masters were doing at the time, greatly helped with an excellent production job. Stuck in between is a shorter track bringing you a more muscular Genesis-type of prog with credible Gabriel-like vocals, but this is never overpowering, but not accidental either.

The second side is filled by an almost-sidelong epic, the 17-min+ Death-Watch-Beetle, but preceeded by a short sweet catchy Nurnberg. Building from a slow crescendo, the track takes its own time to come to its centrepiece, taking meanderings with piano and violin duos, but the singing is maybe at its weakest (at least at the start of this track, but the English lyrics are dispensed with very correct delivery, even if it is obvious they are not native speakers), but the tracks is a never ending tempo change, thanks to the inventive drumming of Bruchman. Almost grandiose, but not perfect: some obvious flaws appear.

Although a departure from their debut album, Hoelderlin (with its pair of brothers - Kaseberg and Grumbkow) hit right on the button with this superb confirmation of their talents. Warmly recommended.

This is truly one of the greatest German prog recordings to ever come from the basement of the legendary producer Connie Plank. HÖELDERLIN employ a wide range of moods ranging from heavy psychedelic to child-like nursery time melodies. Although this recording never really settles down on 1 theme, it does work well in it's entirety. HÖELDERLIN create deep dark Mellotron filled passages which are surrounded by guitar, bass and drum interplay. Every song is very carefully crafted and has an almost humorous component to them. Vocals and in English and are very well done with some nice harmonies. The big hitter for me here is the 20 Minutes epic "Death Watch Beetle" which has some of the most captivating progressive rock moments I have ever heard. HÖELDERLIN has a very strong underground German feel to it and stands in my mind as one of the pinnacle progressive rock recordings of all time. A real jem!!!

Surprisingly I'm only the third reviewer... This is the second album by the German band that was named after the Romantic era poet. The German-language debut Hoelderlins Traum (1972) was more folky and featured female vocalist Nanny de Ruig. She left the group as she preferred focusing on her private life. During the following three years Hoelderlin - with a new line-up - kept on performing and shifted towards symphonic prog. This resulting album is an excellent, warm-hearted amalgam of various musical climates.

The instrumental opener 'schwebebahn' is named after the monorail of Wuppertal city and it nicely reflects its speed. Mellotron and viola bring KING CRIMSON in mind. The next two songs are a cross between dynamic prog and acoustic folk rock with some flute. Christoph Noppeney sounds a lot like Dave Cousins of STRAWBS and he sings as if he was telling stories (a bit like Peter Gabriel in Genesis). The piano-led ballad 'Nürnberg' is sung by more delicate Joachim Grumbkow.

The fine album is crowned by 17½-minute 'Deathwatchbeetle', a controlled yet complex prog composition full of art music elements in the arrangement. If the five tracks were just a bit more memorable, I wouldn't hesitate giving five stars. Very, very recommended!