ECHOES FROM THE PAST

Like another band we'll talk about in a few weeks (with interview) ELOY has a recognizable sound among all and it's a huge advantage for any potential listener. At the beginning of summer 2023, here we are facing the third volume of the trilogy dedicated to the French heroine JEANNE D'ARC de DOMREMY, one of the passions of Frank BORNEMANN, still standing with his seventy-eight springs and we let's see it back at a quality level unimaginable a few years back...

As much as the two previous episodes (2017 and 2019) had left me doubtful and generally disappointed (especially that of 2019) as much this one is of a much better quality without however reaching the heights of the golden age and the sumptuous albums of the German dinosaur from the seventies and eighties. This "Echoes from the Past" is placed under the yoke of Frank's guitars (the inaugural piece among others) despite the omnipresence of Steve MANN the new keyboardist, who had already played with ELOY in the past as an additional musician on several occasions.

The album is obviously conceptual and listening to it in one go is very pleasant, so this time I wouldn't make a notable break between the different tracks. From the half-sung, half-spoken opening of "Conspiracy" which takes us back in time to the Eloyian beauties of "Inside" or "Power and the Passion" to the conclusive, calm and sweet "Farewell" we are faced with a formidable opus concocted by the master of HANOVER.

We find for example in the title track "Echoes from the Past" these angelic female choirs which delighted our ears in "Silent Cries and Mighty Echoes" or in "Colours", nothing less, beautiful work, the two keyboardists firing of any wood in this particular piece (the final part of the piece "Danger" is from the same barrel).

"The Pyre" the longest track on the disc is of a rare prettiness, a rare finesse even but I let you judge. Voluntarily or not Frank BORNEMANN had tipped us off with the spelling proximity "Echoes from the Past" = "Silent Cries and Mighty Echoes"?

The question that can bother the listener, are there bad songs on the album? As I'm a historical fan, I'm not the best placed to answer, let's nevertheless mention "Deceptive Glory" and "Fate" a bit lower than the rest of the work but nothing unacceptable. In the satisfécits, let's not forget Klaus Peter MATZIOL (Matzy for those close to him) on concrete bass guitar and his alter ego Stephan EMIG on drums, the pair without whom ELOY would not be ELOY and the sound of ELOY would not be the sound of ELOY.

An unexpected and winning return that feels good, like YES a few weeks ago... the heavyweights of the seventies are still very much alive, let it be said. As far as I'm concerned and to my surprise, will probably be on my 2023 podium....

Coming in out, not of the blue, but rather of Shine On You Crazy Diamond introductory synth ditties, the opening of this album sounds like an obvious but, still so, really nice touch of floydiana, similar to others in the prolonged career of this German band. There's no reason, however, to be afraid for the personality of this music, since right after of that few first moments, the personal Eloy traits come to shine in full splendour: fully fleshed electric guitar riffs setting the tone in a rocking and grandiloquent manner, keyboards with orchestral and climatic vocation, pounding drums and bass underpinning the whole thing, pulsating but bringing also variation to the signatures.

Now, Bornemann's voice, that can be a problem if you have some prevention against vocal cords carved by old age and/or heavy accent. He's a German and it shows clearly, most of the time, exactly as it's always been the case with Eloy. So we can reasonably expect that that won't be a problem for people familiarized with the band, let alone their fans. On the other hand, he sounds perfectly capable of handling the emotional tone of this work, heavily charged at times, heart-broken on others, ecstatic on the moments of resignation, as he always counts with great female supporting vocalists constructing the massive harmonies required by the unfolding of the storyline, in thight collaboration with keyboards and orchestral parts.

Since this is the closing instalment of a trilogy telling the story of French saint and martyr Jeanne D'Arc, one is obviously waiting for The Pyre, and, when it finally comes, it is clearly a challenge for the tolerance one can dispense to a so obviously predictable outcome. The only thing I have to say is that I didn't suffer the lack of surprise, but rather enjoy the final two tracks very much, and that was because I never ceased to be transported by the sheer emotion of the music to the mistery of a person overcoming the paralyzing fear of unimaginable pain, body consumption, and death.

Only spiritual need makes art worthy, and I feel grateful that Frank Bornemann had that need, and together with his band they were able to shape it in this marvellous music.

It is a sheer delight to hear a brand new Eloy album in 2023 with the mastermind Frank Bornemann on  vocals and guitars. His familiar German accent greets me like a lost friend and the beauty of  Hannes Folberth  and Michael Gerlach's keyboards are hypnotic. Klaus-Peter Matziol on bass and Stephan Emig on drums are wonderful in the rhythm section. The album is conceptual and is third in the trilogy of the story of Joan of Arc.

It opens with the haunting ambience of Conspiracy and then the glorious melodies of  Compassion for Misery.

Echoes from the Past is a catchy track and i particularly enjoyed Danger. Other highlights  include Deceptive Glory and the incredible  Warning Signs.

The Pyre is the track that concludes Joans fate and  it is Farewell that brings down the curtain on this trilogy. Eloy are indispensable space prog and they are still innovative and excellent musicians after all these years

Eloy, debut in 1969? name of the futuristic race of Wells, his Beatles-Shadows and psyche of Pink Floyd, then Yes, Camel and other King Crimson; sound based on Frank solos and spatial synths for a typed symphonic rock; this 21st concept opus completes the story of Jeanne, the great muse of the said guitarist. A progressive rock of yesteryear favoring atmospheres rather than instrumental virtuosity.

'Conspiracy' soaring floydian intro and Frank's 'Blues Brothers' riff sets the mood; an agreed pop-rock tune on a symphonic declination, phrasing and duo pads. 'Compassion for Misery' melody with a folkloric hint, languorous voice on a psychedelic keyboard in the background in interlude. 'Echoes from the Past' prog metal with drum roll and phrasing vocals complemented by female backing vocals; monolithic pompous air, oriental accents and a small station wagon, well done but predictable. 'Danger' continues, with a flute it sounds like Jethro Tull; laid down riff, without wave, the melody reassures and keeps the notion of melodic album concept; title that is slow to take off, classic finale. 'Deceptive Glory' sounds the same, like a facsimile of the previous titles for a conventional prog rock eyeing Barclay James Harvest. 'Warning Signs' phew a little space, finally it's good but it looks like the first title, the intro flirting with a sound of the BOF of 'Heavy Metal'; the central riff has an air of 'Kashmir' giving a pompous and grandiloquent air, the title which stands out. 'Fate' short and in repetition, without novelty, linear despite the contribution of the choir. 'The Pyre' on the same plot with a phrasing intro and a zeppelinian air, wanting to be grandiloquent, for the climb to the stake; the predictable break with the strumming guitar on one of AC/DC's most beautiful intros, yes you'll see we're even waiting for the bell; hovering, latent, atmospheric?well; unhappy to wait for the end of the album and this ethereal finale, new-wave reinforces the discomfort of a 2nd good title. 'Farewell' ends the album with a soft medieval ballad, the softness suits them better.

Eloy does Eloy, always preferring and/or compensating the technique with a bombastic and atmospheric ambiance, powerful but predictable; melodic, spatial passages, a classic prog tone almost hypnotic by the continuity of the air, moody, predictable, lacking in creativity; we are in 2023 and the situation has changed. Although they have a long career, it is a bit repetitive; even if it is melodic it is also a tad soporific.

Nothing lowers expectations for the final part of a Jeanne D'Arc trilogy than 2 dreadful previous installments. Just the fact that this is the end justifies an extra half star, not to mention that the title is a vast improvement over "The Vision the Sword and the Pyre Part 3" for instance. But "Echoes from the Past" is even better for the almost total lack of spoken parts which infected its predecessors, greater emphasis on keyboards, and an improvement in the dynamics of the compositions.

Frank Bornemann's voice remains problematic for its 4 note breadth and most of these "tunes" are structured to let him run wild in that range, but too often the instrumental passages are treated as if they too are stifled by age when they should have offered much needed contrast. Still, if "Compassion for Misery" doesn't really develop, it sounds voluptuous in that "Colours" era sort of way, and "Farewell" is so direct and unadorned that it could have subbed for the entire trilogy, if only. In between, the title cut and "Warning Signs" thrive on savvy guitar and bass hooks. A couple of recycled themes surface from "Ocean" and "Ocean 2" make appearances and that's just fine.

Not that "Visionary" was all that good, but this is almost its equal, so I will now echo my previous action and round up. OK Eloy.