1. Irgendwo, Irgendwahn (4:35)
2. Wenn nicht mehr zahlen und figuren (3:03)
3. Astralis (8:50)
4. Sonnenwende: (16:56)
a) Brandung (3:42)
b) Feuer bricht in die Zeit (3:56)
c) Sonnenfinsternis (3:30)
d) Dämmerung (5:48)

- Detlef Job - guitars, vocals
- Fred Mühlböck - lead vocals, acoustic guitar, flute
- Lutz Rahn - Hammond organ, clavinet, PPG-synth, Mellotron, acoustic & electric pianos, strings
- Heino Schünzel - bass, vocals
- Hartwig Biereichel - drums, percussion

By the time of their fourth studio album, Brandung (1977), Novalis had added new vocalist Fred Muhlbock to the line-up. As well as singing, Muhlbock also played acoustic guitar and added some very welcome flute to the band's sonic palette. For me this album represents Novalis at the apex of their career. I understand what others have said about the band adopting a more commercial approach here, and of having largely discarded the pastoral sound that characterised their two previous albums. Muhlbock's name features prominently among the song writing credits, so he must have had a big say in this change of direction.

Ok, so Novalis nail their colours to the mast straight away with Irgendwo, Irgendwahn. This is just finger-clickin' sing-along pop with a Mellotron added. I for one won't criticise Novalis for this song though. Prog gods Yes released the radio-friendly Wondrous Stories in the same year; what's sauce for the goose. Wenn Nicht Mehr Zahlen Und Figuren is more in traditional Novalis mode, being a quiet reflective ballad featuring acoustic guitar and chiming electric piano. This is followed by the near 9-minute Astralis, with lyrics that I believe were inspired by the band's early-Romantic namesake author. This is the album's main highlight in my opinion, with earnest vocals, memorable melodies and interesting instrumental development. This song also features Lutz Rahn playing one of my favourite keyboards, the clavinet. I don't know if Carlo Karges made off with the band's clavinet when he left after the second album, but I missed it on Sommerabend. Maybe the instrument didn't suit the material on that album. Whatever the case, it makes a welcome return on a couple of tracks here.

The remainder of the album is taken up with the near 17 minute Sonnenwende, which I believe may be a companion piece to Sommerabend's title song. Sonnenwende is a multi- part suite featuring four distinct tracks, the first being the instrumental Brandung. This features nice interplay between Muhlbock's flute, sounding very like Mellotron-flute, and Detlef Job's twanging guitar. The groove here is very much in the hypnotic style that Novalis excelled at, although it gets funkier just after halfway with some more of that clavinet. The second section, Feuer Bricht In Die Zeit, continues in similar up-beat mode but the final two sections are more in keeping with the band's pastoral leanings. Sonnenfinsternis is a contemplative ballad with sensitive flute and Hammond interplay. Dammerung continues in similar vein with tender synthesizer backed by acoustic piano and guitar, while Muhlbock's fervent vocal brings things to a suitably dramatic climax.

I was fortunate enough to get a copy of the deleted Repertoire/Brain version of this several years ago without having to pay 'silly' money. However it's now widely available in a mini gatefold version, so now's your chance to get hold of this fine album. Borderline progressive maybe, but delightful nonetheless. --- seventhsojourn, progarchives.com

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1. Aufbruch (9:37)
2. Wunderschätze (Originaltext von Novalis um 1798) (10:41)
3. Sommerabend (18:17)
	a) Wetterleuchten (3:50)
	b) Am Strand (4:20)
	c) Der Traum (3:50)
	d) Ein neuer Tag (4:25)
	e) Ins Licht (1:52)

- Hartwig Biereichel - drums
- Detlef Job - guitars, vocals
- Lutz Rahn - keyboards
- Heino Schünzel - bass, vocals

Novalis incarnated one of the finest expressions of German symph prog, with their third album 'Sommerabned' being regarded by many as one of their top achievements. Tehir prog style is heavily influenced by Nektar, 73-75 era Pink Floyd - just similarly to their more veteran compatriots of Eloy -, and to a certain degree, 70-71 era Genesis and early BJH. The compostions are not too complicated, but despite their relative simplicity, the melody lines and harmonic textures are quite attractive and effective: Rahn's role on keyboards proves to be crucial at his point, creating the perfect ambience for Job's guitar solos and some of his own, while the rhythm section allows the themes breathe at ease, in an evocative manner. The opening instrumental is a powerful entry, IMHO, the best number in the album, since its energy is managed with gentle skill. 'Wunderschätze', whose lyrics are teaken from a Novalis' poem, starts in a lyrical mood with a prominent role for acoustic guitar arpeggios: later, in the interlude and the closing section, things get a bit harder in order to prepare the way to the bombastic climax. Finally, the namesake 18-minute suite comprises the "best of both worlds", that is, the energy of track 1 and the lyrical introspectiveness of track 2. IMHO, this is the less successful number in the album, since it fails to create a more varied structure that would have made perfect sense otherwise, given the overall duration of the track. With too few tempo changes, only the cleverly crafted chord changes that take place now and then keep this suite from becoming monotonous: anyway, the performers' finesse is always there, and all in all, this is a very good album. Recommended, though not a masterpiece. --- Cesar Inca, progarchives.com

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1. Bolero (Ravel) (0:51)
2. Dronsz (Rahn) (2:41)
3. Es färbt sich die Wiese grün (Karges/Karges) (9:04)
4. Impressionen (Rahn) (10:00)
5. Wer Schmetterlinge lachen hört (Rahn/Karges) (9:14)
6. Wunderschätze (Job/Originaltext von Novalis um 1798, lyrics adapted by D. Job) (11:33)
7. Sommerabend (Job/Rahn/Reihel): (19:19)
...a) Wetterleuchten
...b) Am Strand
...c) Der Traum
...d) Ein neuer Tag
...e) Ins Licht

Bonus tracks (recorded live at the Winterhuder Fährhaus in December 1978):
8. Wenn nicht mehr Zahlen und Figuren (Mühlböck/Novalis, lyrics adapted by F. Mühlböck) (3:07)
9. Astralis (Mühlböck/Novalis, lyrics adapted by F. Mühlböck) (8:58)
10. Irgendwo, Irgendwan (D. Job/D. Job) (4:28)

- Detlef Job - electric guitar, vocals
- Fred Mühlböck - vocals, acoustic & electric guitars, flute
- Lutz Rahn - Hammond H100 organ, PPG synth, Mellotron, electric piano, clavinet, Solina strings
- Heino Schünzel - bass, vocals
- Hartwig Biereichel - drums, gongs

Few albums unveil a new member with a live recording, but that's precisely what Novalis did with their first (of two) 1977 releases. KONZERTE is a live document that also serves as a prémiere for the band's new frontman, Austrian singer Fred Mühlböck. Mühlböck is probably the first real singer the band ever had. Prior to his membership, the vocals were understated in a Camel sense, there just to have someone singing. But Mühlböck actually has something of a vocal presence: he's dramatic without falling into the trap of having fits of spastic, tasteless "hard rock" histrionics like so many others. He also plays guitar, so earlier pieces like "Wer Schmetterlinge lachen hört" can be interpreted in fullest glory. Also, he's a flute player, adding additional texture to an already full and rich sound.

That this album is not on CD is really something of a crime, as it contains what surely are the definitive versions of "Sommerabend" and "Wunderschätze". Mühlböck adds a good deal of life to the earlier songs as well, making this a great starter album for established fans and newcomers alike.

Don't get too excited by the concept of a live version of "Dronsz", though. It's basically pre-recorded walk-on music. ---Progbear, progarchives.com

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