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Home , Amazing Blondel, Celtic harp, Folk rock, Medieval folk rock, Unto Ashes

know what longtime readers were thinking: today’s scene as well a romp through 1970s and ; it could be on a Pentangle The only reason I wrote about medieval Hamburg. Your English-speaking tour guide , except for the words by 13th-century IGerman folk-rock in issue #123 for this journey is Ken Hunt, who lived in Minnesinger Walther von Vogelweide. The CD (April/May 2006) was to get nerd beaks on the Hamburg at the time and has penned historical continues in a similar vein, venturing into cover. Not so, I tell you! In addition to men liner notes setting Ougenweide’s music in psychedelic territory in the trippy break from with beaks, this scene features wolves, foxes, proper context. “Es stount ein frouwe alleine,” sweet early ravens, swans, owls, and other beasties, as well As Hunt explains, the idea for German music in the recorder-and-harmonium textures as about love, drink, and (of course) medieval rock was born when Olaf Casalich, a on “Ouwe,” Jethro Tull’s early prog-rock death. It really is a vital genre, with its own former student of Middle High German, as well on “Swa gouter hande wurzen sint,” and loose conventions, its own scene, and as rich a as a musician, attended a rehearsal of Frank but energetic folk in the arrange- history as other areas under the folk-rock Wulff’s as-yet-unnamed , which was ment of “Der Fuchs,” a German translation of umbrella. Hence, another such column, inspired by U.K. folk-rock groups Fairport the English folksong about Ol’ Daddy Fox. discussing both the beauties and the beasts of Convention and Pentangle. The concept of The material from its second album, 1974’s All medieval folk-rock! “folksong” had developed political connota- Die Weil Ich Mag (also on this CD), suggests The importance of this genre’s history tions on the German scene, from 19th-century the group continued listening to the English really became apparent to me when Bear Romantic nationalism to Nazism and beyond. folk scene for some of its inspiration. I detect Family, the German label known above all for Sidestepping that whole can of worms, Casalich hints of the sweetly naive pastoralism of its loving devotion to the history of popular instead took a Middle High German lyric and on “Der Rattenfanger,” music, reissued four by a foundational added music. The result of this launched not bouncy Angel Delight-era Fairport in some of group for medieval rock, on two shiny new only Ougenweide, but the whole genre of the parts, and a healthy dose of CDs. in question is Ougenweide “Mittelalter-Rock,” which has developed (with in its vocal , (pictured above), undoubtedly the godparents input from many others) into today’s thriving rhythms, and guitar playing. On this album, of German medieval folk-rock. Ougenweide scene. Both CDs by Ougenweide feature excel- though, the members begin to define their own formed in 1971, toured Europe, released a spate lent and playing on a wide variety of sound as well, bringing an eclectic array of of albums between 1973 and 1981, and instruments, and both are highly recommended acoustic and electric instruments to bear on managed to transform the West German folk introductions to the genre. traditional folksongs, medieval songs, a set of scene before it disbanded in 1985. Each of these Ougenweide’s first two albums sound words by Goethe, and original lyrics and CDs, Ougenweide/All Die Weil Ich Mag [Bear more or less as you’d expect given its influ- instrumentals. The CD is thus both a debut of Family BCD 16775 AH (2006)] and Ohren- ences: 70s rock, folk, and mixed with great promise and a sophomore effort showing schmaus/Eulenspiegel [Bear Family BCD medieval flourishes. “Nieman kan mit Gerten,” that promise well fulfilled. 16779 (2006)], presents two of the group’s its self-titled debut album’s first cut, opens The second Ougenweide CD demonstrates early LP releases, providing a prehistory of with jazzy , clear female vocal, that the group members kept listening to folk-

24 February/March ’07 #128 rock from the continent as well as from these songs handsomely. Indeed, two are , and kept experimenting on their own. Markus Van Langen Spanish pieces from the 13th-century collec- It’s on the album Ohrenschmaus that you hear tion Cantigas de Santa Maria, including a not only their influences from England and particularly nice rendition of “A virgin mui elsewhere, but also their own foundational groriosa.” It’s less appealing to the fan of place on the German and European folk when the men sing; they’re scenes. So, “Kommt, ihr Jungfern, helft mir trying to evoke the toughness of medieval klagen,” with its double lead guitars, keyboard warriors in a dramatic way, but end up with a riffs, and extended solos and breaks, puts one croaky vocal style more like hardcore than in mind of the epic folk-rock of Trees, while folk. Still, the band does a good job on mate- “Al Fol” features thick harmony vocals giving rial as diverse as songs from the 15th-century way to a fragile female voice, just like many German poet Oswald von Volkenstein, tunes of Malicorne’s arrangements of the era. Mean- from the English Playford collections, and while, “Bombarde-ment” sounds like the even the folksong “Ai vist lo lop,” an Occitan missing link between ’s 1970s version of the widespread French folksong bagpipe rock and today’s leading bagpipe about the original party animals: a wolf, a fox, bands like Corvus Corax, and the guitar and a hare dancing together in a field. A nice from “Der Schlemiel” turns up later in the Palastinalied [Heckenreiter Records (2002)], mix of material, then, from this predominantly work of English folk-rockers the Home works very well as an extended-form piece of acoustic band. Service. Ougenweide’s fourth release, Eulen- medieval folk-rock. “Ai vist lo lop” also shows up on the latest spiegel, (also on this CD) shows the members Van Langen not only dreamed up the CD from the more electric band Van Langen, coming fully into their own as a creative unit, “Palastinalied” project, he’s also the leader of which features the eponymous string player planning and executing that most 1970s of art two different medieval rock bands, Des Teufels and his singer/wind player Mandragora, along forms, the concept album. As the Who had Lockvoegel and Van Langen, each of which with three other musicians who provide elec- already done with Tommy and Fairport has a recent release worth hearing. Des Teufels tric guitar, bass, and percussion. This version Convention with Babbacombe Lee, Ougen- Lockvoegel is a trio composed of Van Langen, is a harder-rocking take on the , less subtle weide decided to tell a loosely biographical tale who sings and plays guitars, , and other but a lot of fun. The album, Zeychen der Zeyt about Till Eulenspiegel, a legendary jester and strings, and Sabine Stelzer and Achim Eberle, [Heckenreiter Records TOT 23031 (2005)], trickster of the German . (To give both of whom sing and play a variety of wood- features equally good material, from a you a sense of the tenor of Eulenspiegel tales, winds and percussion. Their 2005 CD, powerful version of the Sephardic night- while his name in High German means “owl- Carmina Mystica [Heckenreiter Records TOT visiting “Avrix mi Galanica,” to the mirror,” it is probably derived from a Low 23032 (2005)], exists on the borders of early fatalistic and beautiful Middle English lyric German expression meaning “bum-wipe.”) music and folk, opening with a salterello “Myri it is while somer ilast.” On the This album mixes traditional lyrics with played on and drums, setting a prece- Bulgarian song “Yana,” backed up by beating Medieval Latin songs and many originals, dent for most of the album: Woodwinds tend drums and willow-flute, Mandragora sounds retelling Till’s tale for a new generation. It to lead, with chording on and guitars, more Nordic than Balkan, putting me in mind brings the hard work of the first three albums and snappy rhythms on a variety of drums. of Gjallarhorn or even Mari Boine. A 9th- beautifully to fruition. The medieval songs are a highlight, especially century Old High German magical spell forms To discern the influence Ougenweide had when Stelzer (who also goes by the stage name the basis of one song, and their version of on this scene, consider that it was the first Mandragora) is singing. She has the sharp, “Palastinalied” is here, too. The same German rock band to arrange “Palastinalied,” liquid vocal associated with Sephardic and comment on the vocals pertains here: a song from the Crusades by Walther von Hispano-Moorish styles, and it suits many of Mandragora’s are by far the best. Luckily, it’s Vogelweide. Since then, most of the important Mandragora who closes the album with a slow, groups in German medieval rock, including atmospheric rendition of another Sephardic Adaro, Corvus Corax, Qntal, and others, have ballad, perfect for the crossover fans coming followed suit, recording their own arrange- to medieval music from the Goth scene. ments of the song. The song’s popularity, and Speaking of those fans, there’s a U.S. label the fact that most recordings include only catering to them now: Philadelphia’s Noir selected stanzas of the long text, gave records, which has put out another couple of Markus Van Langen an idea for a CD: Get domestic releases. One of my favorites is V: a number of these bands together, have each The Silver Swan [Noir Records DFD-20946 of them arrange a portion of “Palastinalied” (2006)], by the techno-medieval trio Qntal. or an instrumental section, and release the This is one of my favorite groups in the genre whole as a single, quasi-symphonic work. because of its instrumental skill, its superior The result is skillfully assembled into one production, and its top-flight vocals by Syrah, unbroken 30-minute rendition of the song one of the best early-music vocalists in with verses and instrumental interludes by . The sound achieved with world- more than 20 different groups including Faun, music instruments like the saz, early-music Tanzwut, Corvus Corax, and England’s axes like the hurdy-gurdy, and a bank of Mediæval Bæbes. Some parts of the song programs and loops, is clear, layered, dimen- have an feel, others an electronic sional — a fully-realized environment. Syrah’s edge; some are sung gently, others with voice always keeps the melody to the fore, and guttural gusto. Bagpipes and hurdy-gurdies the band is high on atmosphere. On this latest offer sharp contrast to sweet and . release, the members arrange medieval Van Langen An unusual idea, this CD, titled simply German, Latin, Spanish, Provençal, and

Dirty Linen 25 English lyrics. They also venture into the is not medieval rock so much as an theme alchemy, the medieval discipline that with songs by Elizabeth I of atmospheric gothic medieval folk trio. When I had elements we’ve since remixed into philos- England and John Donne. Obscure romances contacted them for CDs, they were about to ophy, psychology, and chemistry. The songs like the 12th-century “Belle Erembor” and leave the country to tour Germany with Qntal, are original, but the themes and the instru- well-known pieces like Heinrich von which is quite a coup on this rarified scene. All ments are medieval. There are some sweet Morungen’s elf-themed song, “Von den three members of Unto Ashes sing, and if moments with instruments I don’t even recog- Elben,” become the basis of Qntal songs, and they’re not as sublime as Syrah, they still do a nize… which makes me long for some liner the Middle English lyric “The Whyle” is very creditable job in English, Latin, French, notes telling me who’s playing what! Still in dressed up with an appropriate, driving dance German, and Italian. Natalia Lincoln plays all, it’s an impressive effort from a band that rhythm and an appealing naïveté. Whether keyboards, and most of the other instruments, must have been quite young at the time. The Qntal’s greater use of English on this release including guitar, Appalachian dulcimer, , group begins its previous album, Mirror of is related to its signing with a U.S. label is , hurdy-gurdy, and percus- the Middle Ages [Fossil Dungeon FD013 something I don’t know, but Syrah does as sion are played by Michael Laird. On their (2003)], with a reference to a pet peeve of good a job with Middle many folklorists: the idea that English as anyone I’ve heard. Corvus Corax “Ring around the Rosy” is a The CD exists as a regular medieval song about the release and a special limited Black Death. There’s never edition. The limited edition been the slightest evidence for contains a special booklet of this fanciful claim, but it turns art by Brian Froud, and a up in everything from serious second disc with song remixes, medieval history books to a Froud art gallery, and some tourist brochures. The band videoclips. For Froud fans and plays the song with creepy Qntal fans the limited edition is quartile harmonies and a must, but for the musically breathy vocals that are both curious, the best thing is the appropriate and slightly main CD, which comes with grating. In general, it’s a brave both versions. and interesting band, playing Passing from the majesty a variety of unusual instru- of the swan to the raucous cry ments to good effect, and of the raven is a good metaphor excelling on guitars in many for our segue to the rowdy places. It seems to have at music of Corvus Corax, whose name is Latin 2005, release Grave Blessings [Projekt 172 least one out-of-tune recorder that flattens for “raven.” The title of its latest CD, Venus, (2005)], they tackle two medieval songs, one notes here and there throughout the album; Vina, Musica [Noir Records 20726 (2006)], from France and the other from Germany. Both it sounds quite like a homemade medieval can translate roughly as “Wine, Women and are given compelling acoustic arrangements, -pipe might sound, but is also distracting. Song.” This album has a good smattering of the including such unusual combinations as As for vocals, they aren’t this trio’s strongest muscular bagpipe-and-drum sound the group plucked dulcimer, organ, and French horn. They point, and I think they’d do well to look for a is famous for; the rhythms range from a quick- play many songs they’ve written themselves, more accomplished singer (since recording march to a frenetic gallop, and the massed with haunting lyrics invoking astrology, these albums they have in fact added vocalist medieval pipes sound rich and sharp, if simple. alchemy, and ancient pagan archetypes. And for Dawn Desiree to the group). The three The title track, with the cry of the pipes, the folkies, they even cover “Four Loom Weaver,” members on the records are high on talent and rumble of drums, and the simple singing and crediting the to Silly Sisters. Their potential, and also show excellent taste in old- shouting of the whole band, will be a journey latest CD, Songs for a Widow [Projekt 187 time party-songs; they include the Henry VIII into familiar territory for the band’s many fans. (2006)], makes the Pagan orientation more composition “Pastime with Good Company,” But Venus, Vina, Musica also visits some areas explicit in songs like “My Lord is Born,” and exhorting us to “hunt, sing and dance,” and the of greater subtlety. The instrumental “Tuska” contains a similar mix of originals, medieval Latin drinking song “In Taberna Quando finds it tackling Balkan rhythms, and “Anti material (in this case a wonderfully downbeat Sumus,” describing the debauchery of a Dolores Capitis,” with its creaking strings and Middle English lyric and a passage from medieval drinking-house. They have also deep demonic voices, sounds like the back- Dante), and covers. There are very impressive chosen several songs central to the origins of ground music that plays at the gates of hell. musical ideas here; the screeching electric the “Mittelalter-Rock” genre, including Meanwhile, on the medieval French song “Qui guitar and crunchy power chords on “You Will “Palastinalied” (of which they provide a nice, Nous Demaine,” my favorite on this outing, Never Know” contrast with the gentle acoustic dance-style remix as well) and “Tempus Est guest musician Olivier Sa Tyr (of the band plucking, mirrored by the wildly different vocal Iocandum,” both of which were brought into Faun) adds Celtic , and the Corvus Corax styles of the two singers; I haven’t heard a the pop world by none other than Ougenweide. members contribute something very rare in better sonic metaphor for conflicted emotions. And so, readers, we’ve come full circle, this genre: sensitive male vocals. It’s a gentle In “Drei Todesarten” they even manage to from the 20-somethings of the 1970s to their of the “I made my love a garland” produce an original that sounds just like (what counterparts 35 years later, rediscovering variety, set in the beautiful month of May. And else?) German medieval rock! medieval music and blending it with folk and just in case it makes you think the boys are The Soil Bleeds Black, another young rock. That’s the glorious thing about both folk getting soft, the next tune sounds like orcs American trio, has several medieval-themed music and medieval music: It’s so dated and marching off to war! discs available. Its latest, Alchemie [Fossil yet so resilient that it can be remade for each In case you thought only Germans were Dungeon FD027-TW1.20 (2005)], is actually generation. Here’s hoping there are making medieval rock, let me mention two a reissue of a 1999 CD with some bonus tracks many more regenerations to come! young American bands cast in a similar mold. added. As the title suggests, it takes as its

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