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Popol Vuh|Das Hohelied Salomos

Das Hohelied Salomos

Popol Vuh

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Das Hohelied Salomos continues along the same path as Hosianna Mantra (1972), Seligpreisung (1973), and Einsjäger & Siebenjäger (1974). Collaborating with guitarist/percussionist Daniel Fichelscher and soprano Djong Yun and adapting lyrics from the Old Testament's Song of Solomon, Florian Fricke crafts deeply spiritual music from a synthesis of Eastern and Western popular, classical and devotional traditions. Fichelscher's guitar and percussion are to the fore, often eclipsing Fricke's rippling piano melodies, and Yun graces most tracks with her serene, ethereal voice. As on Einsjäger & Siebenjäger, the group works with an economical palette, combining elements to create grand arrangements with subtly shifting rhythms, tempos, and textures. Here, however, the results are all the more expansive and majestic as the minimalist strokes coalesce in sweeping, cosmic swathes, most memorably on the meditative interludes "Du Sohn Davids I" and "In den Nächten auf den Gassen I," with its oceanic, mantric ebb and flow. With contributions from Alois Gromer (sitar) and Shana Kumar (tabla), Das Hohelied Salomos recovers some of the Eastern accent that was more evident on Hosianna Mantra and Seligpreisung: the standout in that regard is the lilting "Der Winter Ist Vorbei," which sets Yun's vocals amid Gromer and Kumar's hypnotic grooves. Elsewhere, there's a more seamless cultural hybrid: for instance, on "Steh auf, Zieh Mich Dir Nach," which gradually gathers momentum with Fricke's piano arpeggios and Fichelscher's rich, bluesy playing. That rock dimension is most emphatic on the closing "Du Tränke Mich mit Deinen Küssen," another track that builds slowly around layered, interweaving guitars. Das Hohelied Salomos encapsulates Fricke's gift for blending aspects of Western rock music's traditionally profane idiom with non-Western and non-rock aesthetics to pursue his unique vision of sacred music.

© Wilson Neate /TiVo

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Das Hohelied Salomos

Popol Vuh

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1
Steh auf, zieh mich dir nach
00:04:44

Traditonal, Lyricist - Florian Fricke, Composer, Arranger - Popol Vuh, Composer, Performance, MainArtist

© 1975 Edition Popol Vuh under exclusive license to BMG Rights Management GmbH ℗ 1975 Edition Popol Vuh under exclusive license to BMG Rights Management GmbH

2
Du schönste der weiber
00:04:28

Traditonal, Lyricist - Florian Fricke, Composer - Popol Vuh, Composer, Performance, MainArtist - Daniel Fichelscher, Composer, Arranger

© 1975 Edition Popol Vuh under exclusive license to BMG Rights Management GmbH ℗ 1975 Edition Popol Vuh under exclusive license to BMG Rights Management GmbH

3
In den nächten auf den gassen
00:01:33

Popol Vuh, Composer, Performance, MainArtist

© 1975 Edition Popol Vuh under exclusive license to BMG Rights Management GmbH ℗ 1975 Edition Popol Vuh under exclusive license to BMG Rights Management GmbH

4
Du sohn davids i
00:02:59

Traditonal, Lyricist - Florian Fricke, Composer, Arranger - Popol Vuh, Composer, Performance, MainArtist

© 1975 Edition Popol Vuh under exclusive license to BMG Rights Management GmbH ℗ 1975 Edition Popol Vuh under exclusive license to BMG Rights Management GmbH

5
In den nächten auf den gassen ii
00:03:26

Traditonal, Lyricist - Florian Fricke, Composer, Arranger - Popol Vuh, Composer, Performance, MainArtist

© 1975 Edition Popol Vuh under exclusive license to BMG Rights Management GmbH ℗ 1975 Edition Popol Vuh under exclusive license to BMG Rights Management GmbH

6
Der winter ist vorbei
00:03:42

Popol Vuh, Composer, Performance, MainArtist

© 1975 Edition Popol Vuh under exclusive license to BMG Rights Management GmbH ℗ 1975 Edition Popol Vuh under exclusive license to BMG Rights Management GmbH

7
Ja, deine liebe ist süßer als wein
00:03:36

Popol Vuh, Composer, Performance, MainArtist

© 1975 Edition Popol Vuh under exclusive license to BMG Rights Management GmbH ℗ 1975 Edition Popol Vuh under exclusive license to BMG Rights Management GmbH

8
Du sohn davids ii
00:03:47

Traditonal, Lyricist - Florian Fricke, Composer, Arranger - Popol Vuh, Composer, Performance, MainArtist

© 1975 Edition Popol Vuh under exclusive license to BMG Rights Management GmbH ℗ 1975 Edition Popol Vuh under exclusive license to BMG Rights Management GmbH

9
Du tränke mich mit deinen küssen
00:04:59

Traditonal, Lyricist - Florian Fricke, Composer, Arranger - Popol Vuh, Composer, Performance, MainArtist - Daniel Fichelscher, Composer

© 1975 Edition Popol Vuh under exclusive license to BMG Rights Management GmbH ℗ 1975 Edition Popol Vuh under exclusive license to BMG Rights Management GmbH

10
In den nächten auf den gassen iii
00:02:07

Popol Vuh, Composer, Performance, MainArtist

© 1975 Edition Popol Vuh under exclusive license to BMG Rights Management GmbH ℗ 1975 Edition Popol Vuh under exclusive license to BMG Rights Management GmbH

11
Schön bist du vor menschensöhnen (Alternative Session)
00:02:48

Popol Vuh, Composer, Performance, MainArtist

© 1975 Edition Popol Vuh under exclusive license to BMG Rights Management GmbH ℗ 1975 Edition Popol Vuh under exclusive license to BMG Rights Management GmbH

12
Mitten im garten (Alternative Piano Version)
00:04:50

Popol Vuh, Composer, Performance, MainArtist

© 1975 Edition Popol Vuh under exclusive license to BMG Rights Management GmbH ℗ 1975 Edition Popol Vuh under exclusive license to BMG Rights Management GmbH

Album review

Das Hohelied Salomos continues along the same path as Hosianna Mantra (1972), Seligpreisung (1973), and Einsjäger & Siebenjäger (1974). Collaborating with guitarist/percussionist Daniel Fichelscher and soprano Djong Yun and adapting lyrics from the Old Testament's Song of Solomon, Florian Fricke crafts deeply spiritual music from a synthesis of Eastern and Western popular, classical and devotional traditions. Fichelscher's guitar and percussion are to the fore, often eclipsing Fricke's rippling piano melodies, and Yun graces most tracks with her serene, ethereal voice. As on Einsjäger & Siebenjäger, the group works with an economical palette, combining elements to create grand arrangements with subtly shifting rhythms, tempos, and textures. Here, however, the results are all the more expansive and majestic as the minimalist strokes coalesce in sweeping, cosmic swathes, most memorably on the meditative interludes "Du Sohn Davids I" and "In den Nächten auf den Gassen I," with its oceanic, mantric ebb and flow. With contributions from Alois Gromer (sitar) and Shana Kumar (tabla), Das Hohelied Salomos recovers some of the Eastern accent that was more evident on Hosianna Mantra and Seligpreisung: the standout in that regard is the lilting "Der Winter Ist Vorbei," which sets Yun's vocals amid Gromer and Kumar's hypnotic grooves. Elsewhere, there's a more seamless cultural hybrid: for instance, on "Steh auf, Zieh Mich Dir Nach," which gradually gathers momentum with Fricke's piano arpeggios and Fichelscher's rich, bluesy playing. That rock dimension is most emphatic on the closing "Du Tränke Mich mit Deinen Küssen," another track that builds slowly around layered, interweaving guitars. Das Hohelied Salomos encapsulates Fricke's gift for blending aspects of Western rock music's traditionally profane idiom with non-Western and non-rock aesthetics to pursue his unique vision of sacred music.

© Wilson Neate /TiVo

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