EULENSPIEGEL

In their previous "Ohrenschmaus" and in this one Ougenweide is at the top of its creativity and originality. "Eulenspiegel" is a colourful and amazing combination between ancient medieval music, "pagan" folk and discreet rock touches. The team celebrate with passion and devotion entertaining hymns to "ancient" Teutonic music. The album alternates delicate "bucolic" ballads (including a dialogue between female / male vocals accompanied by acoustic guitars, mandolin, and ethnic percussions) and dynamic, tasteful compositions featuring an abundant use of flutes and Crumhorn (the atmosphere is really near to the spontaneity of Celtic, traditional music). The musical writing also includes subtle "acid" bluesy electric guitar parts. The vocals are exclusively in German. The use of instrumentation is very orientated to middle age roots and provides a very nice background to some beautiful "angelic" female vocals. Unforgettable and unmissable for all fans of neo-medieval music and progressive folk.

4.5 stars really!!!

The group's fourth album pretty well picks up where the previous three had left it. The group now will attack the Eulenspiegel myth and work it into the concept of the album. While this Protestant against Catholics/Spanish domination is not German per se (the Dutch and the Flemish also count it as theirs), this widely known story/myth of a blond boy almost single-handedly driving the Spanish occupants out of the Low Countries through trickery is rather common. Again the young boy of the Wulff family is appearing on the sleeve dressed as a fool, symbolising Till Eulenspiegel's cunnings.

When compared with the previous three albums, Eulenspiegel is well in the musical continuity as its predecessors, but also marks a progression. The group's pieces, telling a story through their Middle High German lyrics, become more narrative, giving more drama and some tracks become fascinating and even haunting. Tyllurius and Der Hofmaler are astoundingly beautiful, drawing small chills down the spine as the solemn ambiances and spellbinding melodies are riveting you to the depth of your sofa. Later on Vermachtuis is another pearl from the same nursery takes us to heaven, as is the (almost Pentangle-like) Wol Mich Der Stunde track. And if that was not enough the second last track is the album's most flabbergasting moment with vocal cannons and outstanding musicianship.

Compared to their previous album, I'd say that the album is a tad more Tull-esque (maybe due to a slightly more present flute) and Gryphon-esque (the odd crumhorn and the ever stronger medieval ambiances) and a bit less Malicornesque. Again what strikes (as in all Ougenweide albums) is the power of the electric bass, often being the driving force of the sextet. Eulenspiegel is probably my fave Ougenweide album, but I would not say it is their most representative, due to a slightly more restricted musical spectrum. But where eclectism lost, the story gained.

Named after a legendary German trickster folk hero, Eulenspiegel finds Ougenweide in much the same position as the little jester on the cover - namely, walking a tightrope between modern and medieval influences, and doing it with acrobatic deftness. As with their other, earlier 1976 (Ohrenschmaus), it's a sunny folk-rock album with a mingling of modern and medieval influences that sits favourably alongside the more progressive works by the likes of Fairport Convention and Steeleye Span, or perhaps the folkier moments of Gryphon. Of the two albums from this year I think this one has the mild edge, but there's not much between them.