Hoelderlin
Clowns & Clouds

THE REVIEW

In the varied, innovative, and diverse depths of what is often arbitrarily defined as progressive rock, there are realities, unknown to most, that can offer points of interest. Undeniably, when these points of interest transform into true listening pleasure, one realizes how many great things are missing from the listener's repertoire, making prog a land of exploration and continuous research.

Recently enjoying the German area, Debaseriani desires to propose a group that, I am sure, will not disappoint. The Hoderlins, active since 1970, were founded by brothers Christian and Joachim Grumbkow but had their discographic debut with the fantastic "Traum" in 1972. Their blend of symphonic prog, acoustic folk, jazz, and psychedelia led them in 1976 to this splendid "Clowns & Clouds", their most complete, elegant, and engaging work. Unlike previous releases, this work appeared more organic and cohesive, with an unmistakable stylistic imprint marked by great instrumental skill and a particularly keen eye for composition and dynamics of the tracks.

The peculiarity of the work, which combines electric and acoustic parts with a remarkable display of complex and variable rhythms, allows the savoring of extremely ambitious symphonic openings and barely suggested acoustic passages, perhaps with the use of a sweet viola or a delicate flute, awaiting the next instrumental explosion, as happens in the track "Your Eyes", or in the splendid opener "Madhouse" whose dynamics captivate immediately. However, the track that demands the most attention is the long and changing "Circus", divided into three movements and equipped with an instrumental apparatus that has nothing to envy from the great and renowned Albion groups of the same period, between magnificent organs and a multifaceted voice of great depth. I wouldn't exclude the possibility that the listener might find points of contact with Genesis, Camel, Gentle Giant, or Curved Air in passages that perfectly blend symphonies, folk, and fusion into a personal and captivating whole, thanks to the use of strings and winds that counterpoint bucolic guitars, keyboards, and singing in pastoral allure. The cover is also very beautiful.

I also recommend other works by this group, such as the aforementioned "Traum" (1972) or "Rare Birds" (1976).