Hoelderlin - Hoelderlin (1975/2007 Remastered Expanded Edition)
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Album: Hoelderlin - Hoelderlin (Remastered Expanded Edition)
Released: 1975 (2007)
Genre: Krautrock
EMI/Intercord 0946 3 85380 2 8
Remastered, properly done reissue of Hoelderlin's much sought-after second album on CD. Starting their life as a folk rock band, the band lost their female singer, changed the spelling of their name slightly (from Holderlin to Hoelderlin) and moved into symphonic rock territory with strong mellotron work and much more. "They were clearly influenced by British bands of the time. The melodic sensibilities of The Moody Blues, the theatrics of Genesis and the muscularity of King Crimson all come into play."-Ken Golden. This includes an excellent live bonus track and can be very safely recommended to symphonic/mellotron heads - Wayside Music
This is truly one of the greatest German prog recordings to ever come from the basement of the legendary producer Connie Plank. HOELDERLIN 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. HOELDERLIN 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. HOELDERLIN 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 gem!!! - James Unger
I have two Hoelderlin albums, Hoelderlin's Traum and Hoelderlin. Both are excellent, rather unique German symphonic albums. Hoelderlin's Traum is a rather dreamy album, appropriate for the title. The female (and occasional male) vocals are in German. There is ample flute (two! flute players), violin, and cello in addition to the usual guitar and keyboards. The keyboards are the least prominent instrument though Mellotron is heard throughout. At times, some of the flute passages are reminiscent of Gong circa You while some of the violin passages are vaguely reminiscent of Magma. Overall, though, this album sounds like a blend of Amon Duul II, Yatha Sidhra, and Jefferson Airplane. Quite a unique blend. Hoelderin is similar, yet different in several aspects. The female vocals are gone. Though still somewhat spacey, there seems to be a much stronger fusion aspect from the violin and the newly added saxophone playing in several of the songs, perhaps somewhat similar to Didier Lockwood jamming with Didier Malherbe and Gong. For me, this is the better of the two albums, sounding more mature. Both, however, are quite good and unique contributions to the German symphonic scene. - New Gibraltar Encyclopedia Of Progressive Rock
...Hoelderlin's further recording career was somewhat delayed by the demise of Pilz and Ohr in 1973. It seems the group wasn't allowed to sign with another label prior to late 1974, when a contract with Intercord Spiegelel was secured. With Konrad Plank, they recorded their second album in February 1975. Nanny de Ruig had by now left the band. The vocals were now shared between Joachim Grumbkow and Christoph Noppeney. A second guitarist had also been added (Joachim Kaseberg, brother of Peter). Musically this was another great album. Their progressive folk-rock had gained some influences from the lyrical, vintage Genesis. Guests were Zeus B. Held (sax) of Birth Control and Norbert Jacobsen (clarinet) of Release Music Orchestra. The main attraction on the album was the 17-minute suite, "Deathwatchbeetle"... - "Cosmic Dreams at Play - A guide to German Progressive and Electronic Rock"
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-epic), 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 - Hugues Chantraine
From Wuppertal, 20 miles or so east of Dusseldorf, Holderlin evolved out of a 60's folk group playing Fairport Convention and Pentangle songs. They took their name from the 19th Century writer Friedrich Holderlin. Originally, they were a family band, the core was the brothers Christian and Jochen Grumbcow, with Christian's wife Nanny as lead singer. Their debut HOLDERLIN'S TRAUM (aka "Hoelderlin's Dream") aptly lived up to its title, superbly recorded at Dierks' studio, with a trippy cosmic feel, progressive folk, full of rich textures, psychedelic, medieval and classical touches. The multiple strings: violins, cellos, acoustic guitars, along with flutes, piano, and rock instruments including Mellotron, made for a rich diversity, all topped-off by Nanny's delicate singing.
Three years on, Nanny had left, and one Joachim Kaseberg had joined. There was a big change though, with a shift to electric rock instruments. HOELDERLIN presented a new style, opening with "Schwebebahn", an instrumental that riffs at breakneck speed, with the king-pin of the new sound: Nops Noppeny's electric viola to the fore. Hints of Genesis and King Crimson were added... - "The Crack In The Cosmic Egg"
Named after the romantic poet, Friedrich Hölderlin (1770 - 1843), the band from Wuppertal, Germany, operated between 1970 and 1981, producing, by their own account, »rock music, songs, improvisations on cello, violin, flute, acoustic and electric guitars, electric piano, organ, bass and drums. Complex compositions and sus-penseful arrangements, music that forces you to listen. Music that doesn't shy away from twelve-tone cadenzas that includes traditional elements such as folk or classical music and touches on electronics or incorporates jazz phrasings.«
Their 1972 debut album »Hoelderlins Traum« featured a still largely folk-oriented band with a full-time vocalist in Nanny de Ruig (who went on to marry founding member Christian Grumbkow) and featured German lyrics throughout. Disagreements with their record label, Ohr, and its managing director, Rolf-Ulrich Kaiser, resulted in Hoelderlin signing with another label. Nanny de Ruig left the group to give more time to her private life, their subsequent lyrics were written in English and a new musical direction was conceived. As early as 1972, Hoelderlin had begun to expand their folk rock music into a more progressive more complex direction, signing a new contract with Intercord's Spiegelei imprint in 1975.
The press was delighted at Hoelderlin's second offering, which also featured German lyrics (but focused on English words). »From 1975, we were considered Germany's answer to Genesis and King Crimson,« comments bassist Hans Bäär, who joined a few weeks after the album had been completed, immediately embarking on a tour with Hoelderlin. »We relied more on cello, viola and mellotrone, and the material was more playful, lugubrious.« The German music magazine, Sounds, discovered on »Hoelderlin« »simply beautiful, human and very friendly music«, describing the album as »totally laid-back, a very natural fusion of different musical cultures.«
The band's many fans were also impressed, ensuring that Hoelderlin made a significant contribution to the German rock music boom of that time, performing almost 100 shows following the album s release and impressing an average of 500 aficionados per night with their outstanding talent. »We always toured with our own PA, lights and monitors, playing all over Germany,« Bäär recalls. »But although we were occasionally paid fees of up to 2500 marks - around 1,300 euros - we Still lived hand-to-mouth, hardly ever staying at hotels, either stopping with friends after a gig or sleeping in the car.«
These adverse circumstances did not affect the successful presentation of their songs on stage. Night after night, Hoelderlin performed long improvisations, celebrating tracks such as »Deathwatchbeetle« live for over 17 minutes and garnishing the instrumental, »Schwebebahn« with hypnotic vibrations. »Back in those days, there was a unique atmosphere at our concerts,« says Bäär. »People frequently sat cross-legged on the floor, smoking and enjoying the melancholy material, wrapped in thought.« - CD Notes
This, in my opinion, underrated German progressive rock band has its roots in ’63 when the brothers Joachim and Christian Grumbkow founded the rock-band The BEATKIDS and played covers from The BEATLES, The ROLLING STONES and The SHADOWS. In november ’70 the brothers GRUMBKOW presented the name HOLDERLIN (derived from a German romantic poet) after they had played with a sery of musicians mainly folk-rock covers (especially TRAFFIC), all layered with long instrumental improvisations. Then HOLDERLIN got an invitation from a record company, this after only three months of their existence! The debut-album “Holderlin’s Traum” was released in ’72 with a nine-piece line up, including female vocals and instruments like the Mellotron, Grand piano, violin, cello, sitar, tablas and flute. Their sound is a progressive blend of rock, jazz and folk. It sold 5000 copies and the LP is still a collector’s item. But then the troubles began with their producer Rolf-Ulrich Kaiser (TANGERINE DREAM, KLAUS SCHULZE and WALLENSTEIN). He tried to force the band into a more cosmic approach (‘LSD’ inspired complained the band) and was not amused with the “more political oriented lyrics” as he analyzed.
It took almost three years with many juridical conflicts to get rid off the contract but eventually HOLDERLIN won their case. Under the new name HOELDERLIN (in German the pronunciation of "oe" is the same as the "o" and much easier to write or type) the second eponymous LP was released in 75. The band called their music ‘romantic rock’, it sounded more jazzy and it contained echoes from KING CRIMSON and GENESIS. HOELDERLIN toured through Scandinavia, Holland, Germany and Switzerland, got good reviews and radio - and tv-airplay. In ’76 HOELDERLIN released the album entitled “Clowns and Clouds”. The music consists of more complex rock with many theatrical and surrealistic elements. In ’77 Christian had a mental breakdown, he could no longer combine the too busy work with the band and his family life (the upbringing of two children). He left and Spanish guitar player Pablo Weeber joined HOELDERLIN. In ’77 they released the album “Rare Birds”, a year later followed by the 2-LP “Hoelderlin Live Traumstadt”. Soon after the unstable personality of Pablo led to his dismiss. “Traumstadt” got very good reviews, it even reached the German charts. Further releases were “New Faces” (’79) and “Fata Morgana” (’81), including new drummer Eduard Schicke, know from the progrock trio SCHICKE, FUHRS, FROHLING. These albums have a more accessible melodic rock approach.
The double-album “Hoelderlin Live Traumstadt” is their finest work and showcases the band at their pinnacle. It’s still considered as one of the milestones in the German rock history and has some similarities with other German progrock band GROBSCHNITT concerning the long solos, visual effects, costumes and humor. The music was recorded in the Wuppertaler Opernhaus in October ’77, the 2-LP was released in ’78. The band was hit by multiple changes in the line-up, on “Traumstadt” the musicians were Joachim Grumbkow (keyboards and vocals on “Streaming”), Pablo Weeber (all guitars), Michael Bruchmann (drums), Cristoph ‘Nops’ Noppeney (lead vocals and violin) and Hans Baar (bass). All the nine melodic tracks have their own climate and features fluid accelerations, nice interludes, pleasant keyboards (string-ensemble, electric piano, organ and clavinet) and great interplay between electric guitar and violin. But the focus is on the solo work: fiery (“Sun Rays”), biting (“Soft Landing”) and howling (“Die Stadt”) on the electric guitar and exciting (“Streaming”) and spectacular (“Die Stadt”) on the violin. Many solos are supported by the wonderful and distinctive sound of the string-ensemble, a compelling combination! Recommended, especially to the fans of the violin play of Jean Luc PONTY and Eddie JOBSON. - Erik Neuteboom
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