Return Of The Mother

In Summer of '98 I saw lucky enough to see Nina perform in New York City after she had been away for quite a while. During her perfomance that evening it became evident through her new and yet unreleased material (immediately from her opening with the title track from this release) that Nina had finally once again become invigorated to write and perform inspired music rooted in her personal convictions and points of view. Some of those songs appear here and among the others make up her most meaningful and serious (certeinly not indicative that her sense of humor has vanished) album since 'Fearless'. While I wouldn't place this latest effort upon a pedistal as high as I do that, it is her most consistently satisfying since 1983. It is indeed the return of an artist to her individual quality through her spirituality rather than through her style, as many of her past releases (for Polygram specifically) have been. Yes, once again Nina is unique for the things she has to say, not the things she has to wear. Of note is the reappearance of 'Fearless' co-producer Keith Forsey as a songwriter on two of '...Mother's' most notable tracks: the title track and 'Frequenzkontrolle'. Not reappearing, however, this time around are the hit-making aspirations of her Zeus B. Held productions (not to deny 'Street' is resplendant cartoonish appeal); the over-production of 'Revolution Ballroom'; her quirky and playful hatful of vocal tricks that would sometimes inform entire songs rather than enhance them (and here it enhances with substance rather than simple style); and the up-to-the-minute alternative, sing-songy quasi-thrash riffs of 'Freud Auch/Beee Happy'. Appearing in place of all that is Nina, unequivocally: personal inspiration, spirit, authenticity. Subject matters are presented literally and meaningfully, and challenge convention. The mentioned 'Frequenzkontrolle' and 'Handgrenade' may at first seem outlandish, but are eerily relevant. And other than her independantly released collection of spirituals, which I staunchly suggest seeking out, her soul has rarely been more truthfully appearant. For those of us who have been by her side from the beginning she has never been away. Still, this is a fortunate and very welcome 'Return Of The Mother'.

I absolutely LOVE Nina, but have to agree some of her 90's albums were rather uninspired and lacked good production. She has spoken in interviews about her problems with various producers. This is one of her best albums of all time and my current favorite. The songs are:

1.Return of the Mother: excellent, techno sounding, but with incredible operatic vocals, quite emotional and powerful.

2. Der Wind Hat Mir Ein Lied Erzahlt: a gorgeous ballad with smooth, emotive vocals.

3. Schachmatt: A very catchy, addictive trance type of song. Mysterious, dark and evocative.

4. Frequenzkontrolle: My favorite on this disc! A grinding industrial tune that will have you both thinking and shaking your butt! This song is not about aliens,as stated by another reviewer, it is about how Americans think they have a free society but we actually live in "the most controlled society on this planet." It is about control and manipulation of the media and lifestyles. Bravo, Nina!

5. Poetenclub: Very pleasant, laid back, trip hop tune.

6. Hollenzug: Another favorite of mine on the album, it is great, but difficult to describe. Very passionate, mid-tempo,very danceable with a nice guitar riff holding the various elements of the song together. Sort of a folkie/pop/industrial song. A very complex, layered tune that keeps your interest. Do some of the reviewers on here even listen to the CDs? There is only one version of this song on the disc.

7. Schuttel Mich: One of Nina's more cartoonish songs with silly vocals. Fun, cute, silly, danceable.

8. Yes Sir: Another of the more cartoonish songs, very fast, upbeat, swirly and yes, good for dancing.

9. Hand Grenade: A more challenging song that requires repeated listening. At first, it seems very simplistic, but it grows on you. This is one of the more political songs, about Nina's (and many others) belief that it is not AIDS that is fatal, but the drugs they use to treat it that ultimately, kill people.

10. He Shiva Shankara: Yes, this song is a little weaker than some of the others and not in the same musical style. Still, I don't agree with the reviewer who said he would not purchase further CDs if she included songs like this. It is a simple devotional hymn, yet pleasant enough. Nina obviously wanted it on the CD to reflect her spiritual/Hindu beliefs and if her fans care about her as an artist or a person, they need to respect her beliefs. It does not, in my opinion, ruin the album.

If you love Nina, buy this album, it is well worth the import price! If you enjoy artists who are brave, creative, unique and not afraid to tell it like it is, buy this!!!

Well....no joke, this is far and away her greatest artistic statement since her one-of-a-kind, 1982 masterpiece, NUNSEXMONKROCK. Her mid-90's "Revolution Ballroom" was spectacular, but this one embodies more of her individualistic eXtremities! The possessed, channeled howling, growling, and whispered exhortations are back in full force. And Hallelujah for that! On the flip, so are the hyper-romantic, emotionalist operatics, on numbers like the Leander classic "Der Wind Hat Mir Ein Lied Erzahlt". The goa/trance/techno stuff is 1st-rate, particularly the pulsating dirge "Schachmatt", and the kinetic frenzy of electronix on "Yes Sir!" Her stint with seminal Industrial artists KMFDM obviously kicked her grindcore instincts up a notch on battle hymns like "Return Of The Mother" and the mondo-dynamic, ode-to-aliens, "Freakquency Control". You even get a taste of her knack for traditional Hindu spirituals in the form of "He Shiva Shankara". This disc truly reflects all her musical visions most purely and uncompromisingly. As the perfect companion piece, get your hands on the non-album, single track, "Schoen Ist Die Welt". Released the same year, it's the most retro-30's piece she's concocted since "Fisch Im Wasser". Just brilliant.

Like NunSexMonkRock, RETURN OF THE MOTHER is Nina Hagen at her most uninhibited, compelling best. And at her least oppressed.

"...the world worships an original."

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