Florian Fricke pioneered the use of synthesizers in German rock, but by the time of Hosianna Mantra he had abandoned them (eventually selling his famous Moog to
Klaus Schulze). While
In den Gärten Pharaos had blended synths with piano and African and Turkish percussion, Hosianna Mantra focuses on organic instrumentation.
Conny Veit contributes electric guitar, but other than that,
Fricke pulls the plug and builds the album around violin, tamboura, piano, oboe, cembalo, and
Veit's 12-string, often with Korean soprano
Djong Yun's haunting voice hovering above the arrangements. As the album's title suggests,
Fricke conceived of Hosianna Mantra as a musical reconciliation of East and West, a harmonization of seemingly opposed terms, combining two devotional music traditions. That notion of cultural hybridity resonates throughout. On "Kyrie" droning tamboura, simple piano patterns, ethereal, gull-like guitars, and yearning oboe ebb and flow before coalescing in a passage of intensity and release. The epic title track adds another dimension to the fusion, emphasizing a Western rock sound with
Veit's spectacular playing to the fore, simultaneously smoldering and liquid, occasionally yielding to
Djong Yun's celestial vocals. Above all,
Fricke envisioned this as sacred music, intimately linked to religious experience; however, as his musical synthesis of disparate religious traditions indicates, he was seeking to foment a spiritual experience beyond the specificity of any particular faith. Indeed,
Fricke called this album a "mass for the heart" and that aspect can be heard most succinctly on the melancholy "Abschied" and the gossamer-fragile "Segnung," which blend an austere hymnal sensibility with a more mystical vibe.
Julian Cope has said that Hosianna Mantra
- Ah! - 4:46
- Kyrie - 5:25
- Hosianna Mantra - 10:17
- Abschied - Departure - 3:13
- Segnung - Blessing - 6:09
- Andacht - Devotion I - 0:45
- Nicht hoch im Himmel - Not high in heaven - 6:23
- Andacht - Devotion II - 0:45
Florian Fricke pioneered the use of synthesizers in German rock, but by the time of Hosianna Mantra he had abandoned them (eventually selling his famous Moog to Klaus Schulze). While In den Gärten Pharaos had blended synths with piano and African and Turkish percussion, Hosianna Mantra focuses on organic instrumentation. Conny Veit contributes electric guitar, but other than that, Fricke pulls the plug and builds the album around violin, tamboura, piano, oboe, cembalo, and Veit's 12-string, often with Korean soprano Djong Yun's haunting voice hovering above the arrangements. As the album's title suggests, Fricke conceived of Hosianna Mantra as a musical reconciliation of East and West, a harmonization of seemingly opposed terms, combining two devotional music traditions. That notion of cultural hybridity resonates throughout. On "Kyrie" droning tamboura, simple piano patterns, ethereal, gull-like guitars, and yearning oboe ebb and flow before coalescing in a passage of intensity and release. The epic title track adds another dimension to the fusion, emphasizing a Western rock sound with Veit's spectacular playing to the fore, simultaneously smoldering and liquid, occasionally yielding to Djong Yun's celestial vocals. Above all, Fricke envisioned this as sacred music, intimately linked to religious experience; however, as his musical synthesis of disparate religious traditions indicates, he was seeking to foment a spiritual experience beyond the specificity of any particular faith. Indeed, Fricke called this album a "mass for the heart" and that aspect can be heard most succinctly on the melancholy "Abschied" and the gossamer-fragile "Segnung," which blend an austere hymnal sensibility with a more mystical vibe. Julian Cope has said that Hosianna Mantra
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