Flower field – Complete album Series (1992–2006): This is music that never stops. Between disruptive noise and super melodic gesture: the entire work of the Hamburgers as a new vinyl.
If you now put these six albums in a row, if you walk through all of these different music at a time distance, it is also a walk through biographies, first through the Jochen Distelmeyers, but also through your own.
On the debut Ich-Machor ★★★★★artment (1992) Supersmart discussed sensitivities, a “outline of lonely intelligence” called Michael Reinboth this at the time in the MusikExpress. But clamps are also distributed to the new unit Germany, “ink for twenty books in the stomach”. The band’s sound is reduced, Distelmeyer’s highly excited (speech) vocals, plus its guitar, the nervous André Rattay and Eike Bohlken on drums and bass. This results in music that is difficult to classify. Punk is not, German rock certainly not. Then what is it?
L’Atat et Moi
L’Atat et Moi ★★★★★ Because of this act of activity two years later, this being there, but still stand by the cover picture, a parody on the Elvis album 50,000,000 Elvis fans can’t be wrong. Distelmeyer speaks of God and the everyday life of the characters, rock’n’roll and the common thread, blood and ground and the basement full of corpses full of corpses.
The track, like the entire album, a BAM BAM BAM, a reference machine, its own language country, sometimes almost a rap, the individual parts of which you want to undergo immediately more precisely, an insane compendium from word that is accompanied elsewhere by a music that often draws its strength out of repetition, the feedback loops and dissonances, postcore and pop and herb, to a sound that With a little distance, it sounds more tender and open than then and, for example in you make me with his acoustic guitar or at the bail, a lot of what the later albums shaped.
Old Nobody
The apparent tenderness, which was found in the work of the band from Old Nobody ★★★★ about the band, frightened some fans at the time. The idea that someone from a left underground understanding suddenly played songs that, at least in terms of sound aesthetics, docked slabs (which was increasingly claiming than fact, rather at ambience pop between Free Design and David Sylvian and House) seemed outrageous. This fragment line in the flower field cosmos, at least as such, was perceived, it may still be seen in the retrospect, but it has become a neatly healed scar that gives the entire body aesthetic added value.
Distelmeyer sings of “new possibilities” in the hearty rhythmized but still strangely hip -stiff thousand tears deep. And from the “I don’t know how to do it, unite” of the early in the morning (don’t let us talk about sex on the first time) became a “kiss me like for the first time”. In short: it is not a mid -twenties who sings here, but an adult man who is still in the mood for crazyness: my system knows no boundaries with the dissonance of the early years. And at the latest when a (children?-) choir roars out the slogan here and Distelmeyer sings from the “horse in the hallway”, all of the liked to try to make the Munich-Freiheit comparisons.
A BAM-BAM BAM, a reference machine, a language country, the individual parts of which you want to undergo more detailed examination.
Testament of fear
Two years later, the will followed the fear ★★★★★, which collects the slight relaxation policy, the apparent withdrawal to the private in Blumpfeld. The most evident in the dictatorship of the adapted is: Without encryption and too highly dramatic piano patterns, Distelmeyer works here at the circumstances, on the “lies, lies, lies” and those who swallow them.
Beyond everyone
In the following years, folk is increasingly moving into the music of Blumpfeld. Whereby: What the band is now playing is just a kind of folk, more likely to be followed, which reaches its climax in the title track from beyond every ★★★★nel (2003). Distelmeyer sings here of Gauklern and Ganoven, Clowns and Helden, from Zampano, Kleopatra, but also from the Club of Rome and the Retortenkind. He sings his song, why, is explained quickly: “This is my life.” At that time, the album was rather reserved, also because sometimes the more direct slogan is operated on again. But it is always set in a flash. From the second phase of the band, this album includes some of the best -old pieces, such as the final the world is beautiful.
Blumbfeld: forbidden fruits
The last album forbidden fruits ★★★★★ MIED 2006 finally the discourse fully and instead invited to a trip into the countryside. The record sounds pretty much as the cover shows, an illustration by Maria Sibylla Merian. Not every observation of nature opens, but this is this wonderfully irritating top song, the Apfelmann, a small boogie about one, right, apple farmers. “Are you in the mood for fruit,” Distelmeyer liked to ask at concerts at the time, sometimes he also shouted “fruit is cult” into the audience, just as he was able to get a very interesting youth slang for public appearances, which was released from actual youth.
This very standardized, almost modular -looking stage language is the smooth opposite of the rugged sets, with which Distelmeyer once started his career. Perhaps it is also its consequence in one sense of: everything is language. And how you penetrate it, how to find your way around what you read in it, you have to find an answer to all these questions as a listener. Blumpfeld dissolved in 2007. Distelmeyer published a solo album in 2009, since then there has been no new (new in the sense of original) music. It may be that something is in the bush, some murmur something like that.
Until then, this extensive catalog and the occasional tours of the band resurrected as a live act have to be done more than enough. All albums come in Gatefold covers and printed texts.