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HOELDERLIN

Hoelderlin

Prog Folk


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Hoelderlin Hoelderlin album cover
3.93 | 49 ratings | 4 reviews | 14% 5 stars

Excellent addition to any
prog rock music collection


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Studio Album, released in 1975

Songs / Tracks Listing

1. Schwebebahn (7:12)
2. I love my dog (5:38)
3. Honeypot (8:48)
4. Nürnberg (3:00)
5. Death Watch Beetle (17:32)

Total Time: 42:10

Lyrics

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Music tabs (tablatures)

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Line-up / Musicians

- Michael Bruchmann / drums, percussion
- Christian Grumbkow / acoustic & electric guitars
- Joachim Grumbkow / keyboards, flute, string vox, clavinet, Mellotron, lead vocals (4-5)
- Peter Käseberg / bass
- Joachim Käseberg / guitars
- Christoph Noppeney / viola, acoustic guitar, lead vocals (2-3-5)
- Zeus B. Held / alto sax (2)
- Norbert Jacobson / clarinet (3)
- Conny Planck / voice & synthetizers help (5)

Releases information

WMMS Records

Thanks to ProgLucky for the addition
and to Fassbinder for the last updates
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Traumstadt: LiveTraumstadt: Live
Import
EMI International 2006
Audio CD$14.04
$13.16 (used)
HoelderlinHoelderlin
Import
Edge J26181 2007
Audio CD$5.78
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Import
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Audio CD$9.04
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Clouds & ClownsClouds & Clowns
Import
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Audio CD$7.45
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Import
EMI International 2007
Audio CD$6.30
$7.24 (used)
Hoelderlins Traum [Vinyl]Hoelderlins Traum [Vinyl]
ohr/pilz 2008
Vinyl$11.28
$6.77 (used)
Holderlin's TraumHolderlin's Traum
Remastered · Import
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Audio CD$39.21
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HOELDERLIN Hoelderlin ratings distribution


3.93
(49 ratings)
Essential: a masterpiece of progressive rock music(14%)
14%
Excellent addition to any prog rock music collection(59%)
59%
Good, but non-essential (20%)
20%
Collectors/fans only (6%)
6%
Poor. Only for completionists (0%)
0%

HOELDERLIN Hoelderlin reviews


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Collaborators/Experts Reviews

Review by Sean Trane
SPECIAL COLLABORATOR Prog Folk
4 stars 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.

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Send comments to Sean Trane (BETA) | Report this review (#3498) | Review Permalink
Posted Monday, February 02, 2004

Review by loserboy
PROG REVIEWER
4 stars 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!!!

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Send comments to loserboy (BETA) | Report this review (#3499) | Review Permalink
Posted Saturday, March 13, 2004

Review by Matti
COLLABORATOR Neo-Prog Team
4 stars 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!

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Send comments to Matti (BETA) | Report this review (#939612) | Review Permalink
Posted Friday, April 05, 2013

Review by apps79
SPECIAL COLLABORATOR Neo Prog Team
4 stars At the end of 1973 Nanny de Ruig left Hoelderlin, but the band had already a major success with over 80 concerts in Germany, that continued the next year with a more 50 tour dates along the country.Hoelderlin even appeared in few occasions on TV programs and at the fall of 74' they signed a new contract with Spiegelei.Guitarist Joachim Käseberg (brother of Peter Käseberg) joins the band, which starts to work on texts by Bertolt Brecht, Erich Fried, and H.C. Artmann.The new album, entitled simply ''Hoelderlin'' and indicating a fresh start for the band, was recorded at Conny Planck's Studio in early 75' with guest appearances by Zeus B. Held on sax, Conny Planck on additional vocals and synths and Norbert Jacobsen of Release Music Orchestra fame on clarinet.It was released eventually during the spring of the same year.

This second effort shows the band shifting towards more British-styled Prog realms in a very attractive mix with hints from the Kraut Rock scene.The opening instrumental ''Schwebebahn'' shows clear KING CRIMSON influences, led by the dramatic violin exercises of Noppeney and the huge Mellotron washes of Grumbcow, delivered alongside Ethnic percussions and a quasi-improvised groove.''I love my dog'' shows touches of early GENESIS with acoustic guitars and flutes in evidence.The lyrics are now delivered exclusively in English, while the track ends in a Space/Fusion way with a great sax solo by Zeus B. Held and powerful, spacey synths and vocals.''Honeypot'' sounds like a mix of the opening tracks.Lots of acoustic guitars, improvised rhythmic passages, Classical influences on piano and violins and light Mellotron moves combine for another good composition.

The flipside opens with an almost ripoff of GENESIS tunes, the short but beautiful ''Nürnberg'', based on the PETER GABRIEL-esque vocals of Grumbcow, his lovely piano themes and the acoustic crescendo of his brother Christian.The 17-min. opus ''Deathwatchbeetle'' is not only the longest but also the best composition of the album.Split between Classic British Prog and Teutonic Prog Folk ala compatriots EDEN, it offers the listener series of beautiful moments.From the mournful violin textures to the great dual piano/organ runs, this piece follows delicate symphonic arrangements with Grumbcow singing again with a GABRIEL-esque color and the music alternating between obcure Kraut Rock groovy themes with soaring violins and synths and melodic, Classical interludes with evident GENESIS and RENAISSANCE touches, full of acoustic tunes and elegant piano, Mellotron and organ textures.The powerful closing with the grandiose orchestral mood is simply amazing.

Smart move by the Germans.They made their sound richer, incorpopating Classical, Folk and Psych inspirations in a very tight wat.After all, it is very hard to mix succesfully GENESIS delicate music with nods from Kraut Rock and the frenetic performances of KING CRIMSON.Absolutely satisfying and highly recommended.

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Send comments to apps79 (BETA) | Report this review (#984938) | Review Permalink
Posted Monday, June 24, 2013

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