HOSIANNA MANTRA

After their first two experimental albums Popol Vuh (and Mainly Florian Fricke took a break , and engaged in different projects. Fricke found himself in Gila for their last album Bury My Heart At Wounded Knee and when that was over , He brought back Conny Veit with him for a new chapter in Popol Vuh's adventures. In the meantime, Fricke had found religion (both Hindu and Christiandom) and this will translate heavily into Popol 's music.

Hosianna is the blueprint for Popol's future albums for years to come although it does not reach the perfection of some of those . They reject totally the electronics of their first albums and Fricke concentrates on piano, and the music is very acoustic. the only link with previous albums would be the ethnic (mainly Indian) percussions. Actually, this album is a little too laced in spirituality and contemplative moods that I rarely(if ever) play it because I find it quite boring. There are real fine moments mixing the ethereal moments with the japanese sprano vocals but this stays relatively uneventful. Conny Veit will depart after this album but will still collaborate to the next one.

This third album is the start of the classic Popol Vuh, but there is much better to come in the next four albums.

4,5 stars

"Hosianna mantra", released in 1972, is one of the very best Popol vuh albums, from their golden era. The most spiritual, ethereal, thanks to the guitar weaving delicate and hypnotic arabesques and of Djong Yun celestial vocals, helped by quiet meditative piano and peaceful oboe parts. The mood is cerebral and the music carries vibrations of spiritual harmony. A must have from this essential band.

This album has grown as one of the most affecting and memorable recordings I tend to listen. Its spiritual approach accepting all religions as different manifestations of the same search of sanctity fits to my own tolerant quest of acceptance, and the beauty of ambient textures from acoustic-emphasized instruments glorifies the yearning for tranquil ecstasy, carved firmly on the other side of the coin for political misuse of religions trough superstitious masses.

The sides of the LP form two musical entities, which movement's names are familiar from the Christian lexicon of classical European works, uniting here with global hippie philosophies of meditative musical idioms. "Hosianna - Mantra" starts gentle waves from piano, subtle guitar notes and oriental-toned tambura strings, this setting the scene of cross-cultural viewpoint and spiritual essence of the record clear from the start. Momently cascading piano streams of golden light stir movement to the sacred cycles of this musical prayer, which mostly lingers in the silent corridors of protective monasteries and nature's hideouts from man-created evil. The second movement "Kyrie" is really memorable moment of peace on the record, allowing Conny Veit's delicate guitar weeps and Djong Yun's ethereal singing unite as angelic whispers from tranquil eternity, culmination to ascending melodic progression of salvation. This sequence was also filmed to television, on my understanding as overdub, but however allowing interesting visions from the musicians at their creation environment. Florian Fricke's calm piano lingering reminds the lovely calmness of Bill Evans playing style, yet dissolving to ever more vastness of mental quietude. The main sequence of the three parts spin the mantra of faith residing in the lap of the gods, piano weaving the dynamics for the background movement, giving space for a lovely guitar and oboe solos, vocal adorations and incense-smelling shades from other supporting acoustic instruments. As an artistic creation this work really convinces with the capabilities of reaching sacral resolutions by combining traditional high cultural and modern underground methods. Possibly the purity of aims is more meaningful than the doctrines of expressional instruments.

The second side of the LP is named based on my understanding by the Deuteronomy of Moses. Even though the commandments of this scripture contain many strict codes, it also by my inferior interpretation deals with monotheistic idea of god's simultaneous existence everywhere. This aspect could be seen from broader objective perspective suiting to the acceptance of global deistic panorama of these charming musicians gathered at 1970's Munich playgrounds. From the movements, "Abschied" follows the paths of a tender hymn lead by oboe and guitar, illuminated by enigmatic tambura chords. Very operatic vision, which melody dramatics flow in vein of 17th century European music. "Segnung" blends to these motives more trance-oriented long vision to the horizon, focusing for both lovely soprano voice and guitar notes on this broad view, decorated by myriad oriental tonal ornaments creating most enlightening musical scenery. On the later parts the melodic themes are studied with broader instrumentation and joyful pace creates more solid form trough the rhythm. Surrounded by meditative sound carpets of "Andacht", "Nicht hoch im Himmel" continues with passive straits resembling classical music emulating third stream jazz, which I got familiar from ECM record's, shimmering this emotion-affecting void. Piano and emphasis on guitar gains strength in the later moments, which give me also associations from holy emptiness of Giya Kancheli's "Exil" work, also released through the prolific German record mentioned. "Ave Maria" concludes the album by summing the album's melodic potential for beautifulness, classical music forms contrasted with table-drums and strengthened with a violin. As a whole both sides create a personal culmination point of sacred art music which I would recommend for anybody as a masterpiece of spiritual music sensation, not being difficult to follow, nor lacking artistic content.

'Hosianna Mantra' was the first release to feature a change of direction for Popol Vuh. Keyboardist Florian Fricke dispensed with his Moog Modular synthesizer, and concentrated on composing softer, dreamier and more spiritual music based around piano and harpsichord, and designed to be performed with (mainly) non-electric instruments, save for some nimble playing from guitarist Conny Veit. To top off this 'new direction', Fricke added the mesmerising voice of one Djong Yun. The overall feel is one that's closer to 'new age' (way before the term was actually coined) and only the trance-like qualities of 'Krautrock' remain. This is a highly enjoyable album, and a pleasant change of pace from the 'heavy-weights' within the prog world. On a curious note, this is yet another record to feature different cover-art from release to release.

This is probably POPOL VUH's most well known album, and my second favourite after the next one "Seligpreisung". I really feel that Conny Veit adds so much with his guitar playing on those two albums. I don't think Djong Yun sounds any better than she does on this album, her shining moment I guess you could say.

"Ah!" opens with some beautiful piano melodies and then it calms right down 2 minutes in. Piano and a fuller sound returns before another calm arrives 3 1/2 minutes in. Piano is back to end it. "Kyrie" features electric guitar and piano early and the Djong comes in like an angel before a minute. It's so moving 1 1/2 minutes in until it settles at the 3 minute mark. Guitar is back before 4 minutes. Nice.The vocals are fantastic !

"Hosianna Mantra" takes a while to get going and then the piano, guitar and vocals become prominant. Aboe after 3 minutes then guitar.This is gorgeous ! Words do little to express the emotion and beauty right here. Just listen. "Abschied" is led by aboe on this another moving song. "Segnung" is mellow with vocals. A brighter sound with piano and guitar takes over before 4 minutes. Vocals return. "Andacht" is a very short guitar tune. "Nicht Hoch Im Himmel" features vocals and piano early. Her vocals are so dreamy. Guitar comes in after 3 minutes. It's so peaceful 5 1/2 minutes in. "Andacht" like the earlier tune of the same name is short with guitar. This one has some atmosphere to it.

Simply a must have if you like spiritual contemplative music.

Popol Vuh might have had originality not to feel the influence by other music at first of the debut too much. These flows might originate the fact that there were not so many elements of straight Rock in the part of a nucleus musical Florian Fricke.

Part of opening sound natural as one of expressions of existence of Popol Vuh for Florian Fricke and music character exactly. The expression to which an electronic element at first of the debut is taken might have started making those natural elements recur by introducing an electronic sound. The introduction of an electronic sound might have given a futuristic impression in a musical situation of Germany at that time.

Various bands that took the introduction of an electronic sound might have stared at space and the area involved to the directionality of the created expression. To describe an exactly Popol Vuh natural part and a philosophical part, music might have been created by original directionality.

The part of the description, the expression, and the flow of the theme might have had an often philosophical element and a religious expression. The flow of the band that started the recurrence to acoustic with this album would be groping and, of course, be an act of nature. Getting rid of from the introduction of an electronic sound might have had the impression of the restriction for the band. The introduction of the philosophical theme seen as a guess since this album might have expanded the width of the directionality of the band oppositely. It might be advanced with one space meaning already.

The expression and the element of various sounds appear in themes of them seen since this album. However, the band might have tried to create the description and the space of nature by acoustic exceeding the religion and the philosophy. It is said that Florian Fricke referred to the book into which the sutra of Mayas is translated as one of the creations to the start of the band. The part that had been done as a description of the music since this album might already have exactly stared at nature and space.

The introduction of the stringed instrument that gives the impression of a beautiful piano melody and the fantasy of "Ah" might be splendid. The part of Chord of the chromatic scale decides the fantasy silence.

Fantastic guitar and beautiful piano Chord of "Kyrie" is impressive. They remarkably exactly show the expression from the introduction by acoustic in continuing fantasy and silence.

"Hosianna Mantra" expresses the melody with a beautiful guitar and piano. The impression of the solemnity continues. The melody of the song to get on the space that flows incessantly is a melody of admiration. Continuation by majors Chord will call impression from the transposition of Chord.

The feature in "Abschied" is that an original melody and Chord flows by the guitar and Oboe. The impression of the solemnity that flows consistently is an expression for them.

The piano and the guitar completely express nature and space in "Segnung" because of the sound. The sound of Oboe and the decoration to get on the progress of beautiful Chord is complete.

"Andacht Devotion 1" might express the part of the connection of the album. The impression of the solemnity has been decided.

The song and the melody of "Nicht Hoch Im Himmel" with a transparent feeling are impressive. The piano and the song that continues silence and a transparent feeling have the action of purification. The sound of the guitar with the anacatesthesia also contributes to the tune.

"Andacht Devotion 2" continues the sound processed by the effect and progresses. The theme of the album continues.

These albums of men who take the revolution and evolution to the music character of Popol Vuh are important when talking about the history of Popol Vuh.

After two first Popol Vuh very electronic albums, band's keyboardist sold his first ever Moog in whole Germany to Klaus Schulze and returned to acoustic piano sound. Atmospheric, almost chamber, neo-classical piano sound in combination with Korean soprano Djong Yun's haunting voice built a basic for their third album.

That doesn't mean that band abandoned their psychedelic/krautrock field. Just sound was changed radically. Besides of piano and operatic voice, there are electric guitars, violin and brass. Down tempo, almost meditation music, still strongly based on European roots. With addition of ethnic fusion though. Ambient soundscapes are combined with almost classic piano, electric guitar plays it's jazz fusion influenced line. No traces of electronic world of two previous works.

Very elegant, dreamy and fragile music, I really like it!

After two dense and experimental electronic albums, Florian Fricke found religion and turned his music into more introspective directions. The inspiration from various religious traditions and ethnic sources proved to be a fertile source, but I believe it took him a couple of albums to perfect his new sound.

The first nu-Popol album is stunning in places. The opener for instance is so delightful, subtle and rich. If Florian Fricke tried to find pure beauty then he found it in all its dazzling splendor here. Also Kyrie and the first part of the title track are strong. The instrumentation is very acoustic, with piano and clean electric guitar picking. Delicate female vocals and a small chamber music ensemble round out the sound.

At times it can get a bit too mellow and romantic for my taste, as in the second half of the title track and the ensuing Departure, that makes me feel as though I'm listening to Christmas carols. But the album restores the magic in its last 15 minutes that are filled with beautiful fragile music, especially the sparse and jazzy Not High in Heaven is brilliant.

The album is a strong start in Popol Vuh's second life with some really superb material. 3.5 for sure, 4 if I'm in a mellow mood.

After seeing this and several other Popol Vuh albums on the Krautrock top 20 in my early days as a member of ProgArchives, I decided to check them out. It took me until last year to finally order anything by the group, though. This album was my first experience with the group, and I must say it's sufficiently impressive.

On this album, using almost exclusively acoustic instrumentation (the only exception being Conny Veit's guitar), Fricke and company set out to mix East and West, and to create some very beautiful music. They largely succeed, especially on the second point. The album has an airy, almost angelic sound throughout, in large part due to Fricke's piano playing and the beautiful, serene vocals courtesy of Djong Yun. It is surely spiritual without being very religious, and listening to it always brings me serenity.

It's albums like this one that prove not all prog is over the top or pretentious - on the contrary, this one is very introspective and elegant. Forget outer space - this is music which travels to inner space and explores around a bit. It's definitely a good starting point for Popol Vuh's brand of Krautrock, as it's got me hungry for more of their kind of music. I don't think it's a great starting point for the Krautrock genre as a whole though, as the band's sound is pretty far removed here from other bands under the same umbrella. Still, if you want an album which exemplifies quiet serenity, keep Florian's music in mind - he seems to have been a master of the style. Four (and a half) stars from me for this one.

Incorporating instruments and influences from folk, classical, and both Eastern and Western musical traditions, the overall feel of the music of Hosianna Mantra has the reverent feel of an Alice or John Coltrane album. Expressing peace and cosmic connectivity in a mostly-gentle and almost ecclesiastical way with its piano, zither, acoustic guitars, and angelic female vocals, there are also buildups and releases of orgiastic frenzy ("Kyrie" and "Hosianna - Mantra") thanks to the electric guitar and woodwinds. Listening to Popul Vuh is, to me, more of a spiritual-meditative experience than an adventure into rock and roll or progressive rock music--especially as there are no drums and an almost chamber or stripped down church orchestral feel to the music. One feels bathed, cleansed, and absolved of Earthly dross as a benefit from listening to this music--as if you've gone to confession or done penance. Beautiful, uplifting music. (Not sure if it's prog, but, here we are!)

A magical, majestic album that may be perfect in its effect if not its intent. Rated down purely for its questionable inclusion in the grungier domains of prog rock. this album might be paired up better with the ambient works of Brian Eno and/or Harold Budd.

A truly exceptional album in Popol Vuh's discography, not least because of the ethereal, haunting vocal contributions by Djong Yun, creating a sound that was at least a decade ahead of its time - I actually find the combination of ghostly female vocals and shimmering, delicate musical performances reminiscent of some of the work produced by Dead Can Dance or the Cocteau Twins in the 1980s. Whilst many other of the leading lights in the Krautrock genre were exploring synthesiser-dominated ambient drone works, Florian Fricke and his guest musicians apply a greater instrumental variety and let loose some exceptional performances, Conny Veit's guitar work being particularly noteworthy. A jewel in Popol Vuh's crown.

"Hosianna - Mantra" is a sacred fusion between West and East: Hosianna (Christian hymn) and Mantra (Hindu and Buddhist ritual).

This music isn't rock: is sacred classical music with modern occidental arrangement. Florian Fricke's piano and harpsichord lead the orchestra formed by the violin and the oboe flanked by instruments typical of western pop-rock: acoustic and electric guitar, played in a classical way by the guitarist Conny Veitt. The eastern part of the sound is entrusted to the Klaus Wiese tambura and the celestial soprano voice, the Korean Djong Yun.

The original album (1972) is composed in two parts: the side A called "Hosianna Mantra", and the side B called "Das V. Buch Mose". "Ah!" is an instrumental piece where the piano repeats hypnotically some ascending and descending stairs. It is an interlocutory piece, which has a certain nervousness. Vote 7,5.

"Kyrie": in this song, embellished by the angelic voice of the singer, you hear more the almost psychedelic phrasing of the electric guitar, which allows you to reach meditative ecstasy. Vote 8.

In "Hosianna - Mantra" (ten minutes, vote 8,5/9) the Christ's ascension into Heaven is accompanied at the beginning by Yun's voice and a crescendo of electric guitar and piano that wants to reach mystical ecstasy. After a slowdown and a pause, the hypnotic cadence of the piece begins again and the cresendo of the song declaiming "Hosianna" is wonderful. The sacred touch is reached by the atmosphere created by the voice and the oboe (played by Robert Eliscu). Great masterpiece.

Side B, "Das V Buch Mose", is inspired by the biblical narratives of the fifth book of Moses. "Abschied" is an instrumental piece driven by the oboe, which gives it melancholy. Vote 7 +. "Segnung" (six minutes) is an atmospheric piece where you hear the harpsichord in the background and Yun's voice is more ethereal than ever. When it seems to go towards fading, the phrasing of the piano returns to make the piece lively. Vote 8+. Masterpiece. "Andacht" are 40 seconds of celestial atmosphere.

"Nicht hoch im Himmel" (again 6 minutes) is the most unpredictable and hybrid piece between meditative tone (the singing) and moments of restlessness (always left to the piano). Not easy to be listened. Vote 7,5/8. "Andacht II" are 35 seconds of final tail.

Hosianna Mantra, year 1972, is an album full of celestial songs, but too homogeneous, that towards the end requires a certain motivation to be listened. The music is not so much a mixture between east and west because the orchestration is typically western, but the meditative and ethereal tone, worthy of a yoga session, make it suitable for the east. Hosianna Mantra anticipates ambient and new Age music.

Medium quality of the songs: 7,92. Vote Album: 8,5. Rating: Four Stars.