Ahnstern
Werkraum : Early Love Music (D,2008)***°/****
Previously, Werkraum hung slightly in the neo-folk scene, while I felt they were capable of a much wider range of expressions. With this release they not only broadened their own expressions, but also the loner feelings of individuals and duos and all the smaller range expressions from the neo-folk scene are now thanks to a communal vision, and also a great fundament of what was a successful deeper foundation before, the reference to old and medieval music, and some references and covers of Donovan ("Jabberwocky" taken from Lewis Caroll) and Steeleye Span ("The Blacksmith") a whole range of visions is brought back to life. In Germany Ougenweide might have been the most successful folkrock example, with their own roots in medieval folk (including the use of old German ; unfortunately their popularity never expanded beyond Germany's borders much). The beautiful voice of Antje Hoppenrath who must have had an education in medieval song, with the involved band (and great arrangements) provokes an equally great sound compared to Ougenweide, (one song is from Dietmar Von Aist, 12th century) and even sings a medieval French song (something which recalls Malicorne this time). I felt at first a bit uneasy with the bringing in of some of the first listed English songs which felt a bit less convincing or not “British” enough in a subtle way as the right contrast to the German subtleness. I must say that first of all we must not forget how different the folk flavour essence of both countries is. The emotional, sensitive and lyric song pronunciation for English language, and the voice timbre are completely different. German language in pop or entertainment rarely disturbed a public, at least until the 80s, when suddenly youngsters began to associate Germany again with the war because other associations were not taught, but until then there were many international hits (from the pop Nena’s “99 luftballons” and Nina Hagen, to New Wave/Neue Welle, entertainment and song-artists). But for folk music until now, except for some attention for certain 70s progfolk reissues, this never reached the foreign public yet. This release is able to form a bridge and sounds also best in their own language. But there’s also one English cooperator (the American Robert N.Taylor, from Changes), besides other guests, like Max Percht from Sturmpercht (with spoken word in the beautiful Austrian pronunciation of German), or Herr Wind (also from Sturmpercht), the Brit Nick Nedzynski (Lady Morphia), and Nicholas Tesluk (Changes and Phase II).
The medieval association is vivid and well worked out. Also noticeable is the contribution of the individual members, besides there’s also a good ear for sounds with a use of particular instruments with a certain rich sound (like the sitar psaltery, Wurlitzer, and not mentioned, certain keyboards or electronics also for small moody intermezzos or improvisations), while accordion or hurdy gurdy, zither or guitar take care of the basic mood, the flutes are in it for the lighter and another improvised mood.
An improvement to the promising previous release and a mark for the neo-folk scene, stepping in the psychedelic/progressive folk scene thanks to a right mentality to make something which dates much further back in true spirit.
