From the Romantic poet Friedrich Hölderlin (1770–1843), they inherited not only their name but also a well-developed sense of elegance and an ability to perceive the world in its entirety. Furthermore, the ensemble from the German city of Wuppertal was unafraid of radical stylistic shifts, nor of freely moving between German-language lyrics and English texts. In the early stages of their existence (the period of their debut album, "Traum," 1972), tradition set the tone for Hölderlin's compositions. A strong folk influence and the voice of vocalist Nanny de Rueg sometimes created a fairytale-like, detached, somewhat melancholic atmosphere, while at other times, they plunged the listener into a whirlwind of semi-acoustic intoxication. Critics received the album enthusiastically. However, creative differences with management prevented the group from continuing to operate under the Pilz label. Ultimately, Hoelderlin's new home was the progressive Stuttgart studio Spiegelei. Meanwhile, the project's leader, Christian von Grumbkow (guitar), reconsidered his own views on the band's compositional strategy. Having retired his singing wife, he raised the bar and encouraged his colleagues to experiment with symphonic art. The idea was well-received. The already strong lineup was strengthened by guests—wind player Zeus (Birth Control) and clarinetist Norbert Jacobson (Release Music Orchestra). And the ubiquitous electronic musician Conny Plank, who launched Kraftwerk into the mainstream, played occasional synth parts in addition to his engineering duties. The end result was well-received. And understandably so, as Hoelderlin dared to compete with British luminaries like Genesis. It must be said, the result was superb. The instrumental canvas of "Schwebebahn" rests on an interesting combination: a rousing rhythmic-melodic texture and a touch of drama.01. Schwebebahn - 0:00
02. I Love My Dog - 7:21
03. Honeypot - 13:00
04. Nürnberg - 21:52
05. Deathwatchbeetle - 25:00
Bonus:
06. Deathwatchbeetle (live 1974) - 42:36
Personnel:
- Christian von Grumbkow - electric & acoustic guitar - Joachim von Grumbkow - grand piano, organ, flute, Hohner synthesizer, Hohner clavinett, mellotron, vocals (04,05) - Joachim Käseberg - guitar - Christoph Noppeney - viola, acoustic guitar, vocals (02,03,05) - Peter Käseberg - bass guitar - Michael Bruchmann - drums, percussion + - Zeus B. Held - alto saxophone (02) - Norbert Jacobson - clarinet (03) - Conny Plank - engineer, voice (05), synthesizer (05)
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14:59enough for bringing up a little son, he gladly hoped his wife could bear to him.
15:06he would raise the son, so that the world might look at him, so that the world might look at him in pride and admiration.
15:18Yeah, it's not a lot of words as him, he would raise the son, but he would bring up a little bit more of a kiss and his wife could bear to speak with him.
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