Achim Reichel
Klabautermann

Rolling home to good ol' Hamburg, rolling home across the sea - Achim Reichel's Retrospective - Chapter II

Creating is the first step, then you need to consolidate: "Dat Shanty Alb'm", with which Achim Reichel invented himself a second artistic life, continuing to this day, soon finds a worthy successor in this 1977 "Klabautermann". I did not use the adjective "consolidate" by chance, "Klabautermann" has a more robust sound than its predecessor, more electric and with fewer strictly folk/traditional episodes: certainly more structured, more "album" in the strictest sense compared to its predecessor, from which, however, it loses something in terms of charm and originality. A good transitional work not devoid of interesting insights, beautiful songs, and some stylistic innovations compared to the debut, but, at least for me, it is slightly overshadowed by both the predecessor and the successor, the superb "Regenballade".

"Piratentanz", a cheerful instrumental tune to whistle along to, soon gives way to the title track of the album, a solid midtempo rock characterized by flute inserts à la Jethro Tull, a short and pleasant guitar solo, and more markedly low and stentorian vocals compared to the debut album; from here on, the course remains steady, speeding up with "Feuer", a fast-paced and incisive rock'n'roll, or offering an even denser and more intense sound with the sultry "Sophie, Mein Henkersmaddel", in which Achim's singing impressively resembles Till Lindemann's: is it possible that TL was inspired by him? For sentimental reasons, I like to think so. Classic '70s rock in abundant doses, and Achim Reichel uses it well for some excellent combinations like "Der Fliegende Hollander", which continues the "storytelling" theme started in "Dat Shanty Alb'm" with "Pest On Bord" and in "Wir Lieben Die Sturme", a maritime song reinterpreted in hard-rock style: two powerful and compelling episodes, two cornerstones and strengths of the album.

"Halla Ballu Ballay", on the other hand, is a pure and simple sea shanty, complete with choruses and an Arabesque violin: impact and emotion are guaranteed, as well as in the intense and moving finale of "Abends An Deck", where Achim is silent to leave the stage to his choristers, accompanied by an accordion and a simple acoustic guitar; then comes a dark solo, a storm that suddenly breaks out and gradually fades to leave room again for the peace and melancholy of the initial melody. A wonderful closure and also one of the stylistic innovations I mentioned earlier, the others being "Das Stortebekerlied", an oasis of fresh and sunny relaxation amid the album’s brisk rhythms, in ska rhythm, and "Mit Den Taschen Voller Gold", a fascinating and subtly spectral folk ballad with strong western connotations, storytelling at the highest levels, and also a small preview of the sonorities that will characterize "Regenballade".

But this will be discussed in due course, returning to "Klabautermann", the final verdict can only be widely positive, even though my personal preferences are more oriented towards other works of the Hamburg phenomenon: it is an excellent album by Achim Reichel, solid, not lacking great songs. Highly recommended for all classic rock enthusiasts.