EYESBERG
Neo-Prog • Germany
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Eyesberg were found in Frankfurt circa 1980 by a team of five musicians, Georg Alfter, Michael Buchner, Norbert Podien, Thomas Klarmann and English traveler Malcolm Shuttleworth, who settled down in Germany, after playing music in Israel. Apparently this early formation was not very succesful with no documents left from this premature stage. Over 30 years later Klarmann had enjoyed success as a member of ARGOS and SUPERDRAMA, so a new formation was inspired and gathered to give Eyesberg another shot. Klarmann however was not among the participants, this fresh start was made by Malcolm Shuttleworth (vocals), Norbert Podien (keyboards) and Georg Alfter (guitar, bass), but Klarmann's bandmate on Argos Ulf Jacobs was invited to join on drums. The old compositions of the band had been reworked and in 2014 Eyesberg launched their long-awaited debut ''Blue'' on Progressive Promotion Records, an album containing obvious influences from the music of IQ, PENDRAGON and FISH-era MARILLION and a must-have for all fans of the classic 80's-styled Neo Prog style.
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Eyesberg-Blue CD NEW |
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Eyesberg - Masquerade [New CD] |
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Eyesberg - Blue [New CD] |
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EYESBERG discography
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EYESBERG top albums (CD, LP, MC, SACD, DVD-A, Digital Media Download)
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EYESBERG Reviews
Showing last 10 reviews only
Eyesberg Neo-Prog
Review by
Windhawk
Special Collaborator Honorary Collaborator

While I do not see that Eyesberg's second album will convince anyone not already fond of neo progressive rock of the 80's variety to the charms of this particular approach to progressive rock, many of those who tend to enjoy this style of music should find this CD to be right up their alley. An album that merits a check by those who enjoy the classic neo progressive bands of the early 80's as well as Genesis as they were in the last few years before they opted to create more regular pop music.
Eyesberg Neo-Prog
Review by
kev rowland
Special Collaborator Crossover Prog Team

The debut album would probably be best described as retro prog, but this one is much further into neo prog territory, with a far more abrasive edge, as if they have lost the innocence of the debut and are far angrier. The two albums are quite different in some respects, and very similar in others, with Malcolm's vocals playing a key part in bringing them together, along with Hackett Genesis influences still obvious in this one, although more diluted than in the debut. Of the two I think I prefer the debut, just, but they are both worthy of discovery to any prog lover,
Eyesberg Neo-Prog
Review by
kev rowland
Special Collaborator Crossover Prog Team

Given that these songs were written more than thirty-five years ago, as opposed to 2014 when they were released, it isn't surprising at all that they have far less in common with modern prog, and the album has quite a retro feel. This is enhanced by the quite large use of flute sounds from the keyboards, and it certainly makes me think of the type of music that Steve Hackett was producing at the time, as well as last Seventies Genesis. It is an incredibly enjoyable piece of work throughout, and the very English vocals of Malcolm come across as a mix of Gabriel and Roger Chapman, with hints of Peter Nicholls. Overall this is a very enjoyable album and I was keen to see if they would stick around to release another.
Eyesberg Neo-Prog
Review by
Warthur
Prog Reviewer

It's competently done, but it does rather feel a bit neo-prog-by-numbers at points, and in terms of the lyrical themes they explore the band indulge in the sort of what I think of as "grumpy divorced dad nostalgia" that can plague the neo-prog scene a bit. You know the kind of thing - the sort of sub-Big Big Train griping about how Things Ain't Like They Used To Be (though there's plenty of music from the good old days that reminds us that things weren't so great back then either!). Where I look to neo-prog music for something emotionally engaging - whether that's IQ-style psychedelic excitement, Marillion-esque emotional gravitas, or whatever - Eyesberg instead deliver a lot of rather clueless griping.
Take a case in point: one of the songs starts off with vocalist Malcolm Shuttleworth singing about how social media's terrible and nobody talks anymore. Now, this is a position without credibility (I could go off on a long rant about it, but suffice to say that if you believe people are using social media to the extent of cutting out seeing people in person entirely, I would say that you are either projecting your own boring social isolation onto others or fundamentally misunderstanding how people use it - it's a useful accessory to and facilitator of other interactions, not a replacement for them), but let's set that aside: Facebook launched in 2004, and Twitter launched in 2006. We are dealing here with a social phenomenon which is a decade old; the time when you could pretend to be "with it" and in tune with current issues simply by saying something uninformed and unsupported about social media is well and truly past.
I take issue with this not because I think songs about social media are inherently bad, but I would say that they've been *done already*, and if a band feels the need to do a song about the subject and then entirely fails to say anything new about it beyond some dull platitudes - and, even worse, doesn't even manage to dress up the platitudes in a way I haven't heard a dozen times before - that suggests that they are rather short of ideas. And that's how I'd characterise Eyesberg: they churn out pleasant enough material, I wouldn't rate the album below three stars, but until they start doing something I haven't heard before too many times already they're not going to get beyond three stars.
Eyesberg Neo-Prog
Review by Progrussia

Eyesberg Neo-Prog
Review by Rayx

RAY X ? Cologne 2016
Eyesberg Neo-Prog
Review by maryes

Eyesberg Neo-Prog
Review by
Windhawk
Special Collaborator Honorary Collaborator

A few late tracks aside, "Blue" comes across as a charming take on the more accessible side of Genesis sometime around 1980, with compositions that combine accessible features and a progressive rock-oriented approach in an elegant and keyboards-dominated manner, complete with a lead vocalist with a voice and tone reminding of Phil Collins. As such an album that those with a taste for Genesis as they appeared sometime around 1980 might want to investigate.
Eyesberg Neo-Prog
Review by
Gerinski
Prog Reviewer

Fortunately they got the collaboration from drummer Ulf Jacobs from Argos, a band formed by another of the original Eyesberg members Thomas Klarmann, instead of having to resort to programmed drum tracks. Ulf's drumming is really good and fits the music well.
The music and sound are reminiscent of 80's ' 90's Genesis mixed with 80's Camel and other Neo bands like Illuvatar, Quidam or Everon. Shuttleworth's voice frequently sounds similar to Phil Collins, occasionally adopting a more theatrical style which can remind of Fish, although with a more positive spirit instead of the frequent sombreness of the latter.
Highly melodic and easy-listening tunes, where the progginess comes more from frequent breaks and tempo and section changes rather than odd time signatures per se or technicality show-offs. Most songs are relatively short (around the 5 min mark) and yet they contain several sections so they flow nicely, nothing gets too long and the transitions are always fitting and nicely resolved, unlike other bands whose transitions sound patchy and forced.
Guitars are Rothery / Latimer influenced, melodic and never too distorted. Soloing by guitar and keys are often more melodic lines rather than traditional rock soloing. Flute sounds are frequently used, even in some uptempo sections, giving some Camel-esque or Quidam-esque vibe, although no flute player is credited so I assume they are produced with the keyboards.
The tracks contain a variety of tempos and dynamic patterns and they are well arranged in terms of sequence so the complete album has a nice dynamic flow. I find the last two tracks rather weak and they could have been dropped making a better 50 min album, and 'Winter Gone' is a bit cheesy, sounding like a Phil Collins ballad but it's not bad, and for the rest all the tracks are at a similarly good quality level. The production is good and clear from what I can say from listening to the album on Progstreaming via my computer and hi-fi system.
There's nothing too spectacular in this album but the music is well composed, arranged and performed. I would say, excellent addition for Neo fans, while harder-edged proggers will probably find it a bit bland.
Eyesberg Neo-Prog
Review by
tszirmay
Special Collaborator Honorary Collaborator

Effervescent synthesizer salvos greet the unsuspecting listener, as a power riff cruncher then takes over with solid rhythmic pressure courtesy of veteran drummer Ulf Jacobs (Argos). "Child's Play" introduces a typical neo-prog atmosphere, a stories universe of sound and verse that exudes both warmth and intelligence. This is a fine opener, a harbinger of what is to come, a series of bright, crisp and attractive compositions firmly encamped in the neo camp.
The spectacular "Epitaph" has Malcolm shadowing Uncle Phil Collins rather brilliantly without any overt drool, just a hefty load of melodrama to spur the moment along. Norbert Podien has his ivories harrumphing like a slew of elephants in a peanut gallery, blitzkrieg guitar flurries help to elevate the pleasure but the rich melodies are the main attraction.
Right behind is another winner, the divine "Closed Until the Resurrection" (now that is wordplay if I ever read one) which motors right from the start with guzzling guitar and slippery synth whooshes, the Collins reference is immediate and strangely comforting, as if re-mindful of what Genesis could have been , had it decided to remain firmly a symph/neo-prog spearhead. A spooky keyboard mid-section does wonders for the soul as Shuttleworth gets into his storytelling mode , here closer to Fish than anyone else. The guitar is both brash and splashy, equally entrancing in rhythm or lead mode, highlighting an already delicious track.
The delicate flute ponders its place in the mixture, veering initially into Ant Phillips circa The Ghost and the Geese territory, as "Winter Gone" could have easily been a prog radio hit as the tune just blooms into a lovely balled dripping with Trick of the Tail era magic. Everything impresses immediately and is extremely enjoyable.
This same aura is repeated on the following "Inquisitive", another lively affair that remains brief but playful. Prog-pop is admittedly not everyone's cup of tea but on occasion, you need some simple snack food to calm the urges and satisfy the hunger for easily digestible fare. This is just pure fun, nothing more, nothing less.
The obvious crowning achievement here is "Feed Yourself" an 8 minute prog slice that has a slow burning fuse intro that will sweep one off their feet, a howling mellotron hurricane that will blow you sideways. Malcolm really comes across as a cool lead vocalist, doing a fine mix of Phil Collins, Fish, Cy Curnin (The Fixx) and Michael Sadler. The guitar blasts furiously, always in a riotous exaltation, Jacobs slamming hard, while the synthesizers carve their stone. Richly dense, the groove is relentless and awe-inspiring! This should be heralded as a classic 2014 prog epic, a suave box of candied musical arrangements and dramatic vocals that cannot disappoint even the distant fan.
After a brief intro, five songs are featured in intervals of 5 and 3 minute pieces, showing their more accessible side. "Faces on my Way" is perhaps a bit weaker than all the previous glory but is still not filler by any stretch. Just a slight jazzier approach, with fluid guitar and keyboard interventions that inspire another solid vocal performance. The 3 minute "Porcelain" is fast and furious, catchy and fun as well as featuring some nimble back and forth soloing between synths and axes. The attention to details is obvious, a carefully clever manipulation of the senses, as the music balanced between familiar and unexpected. This is best exemplified in glowing colour on a track such as "If I told you the truth", a pop song with balls, commercial at first but the musical prowess soon shows itself to be seductively overwhelming. I could have done without the 'baby' pseudo-R&B inserts but that is nit-picking, the piece is a well-crafted, bombastic and toe-tapping ride. "SII" is almost like a modern version of "Smoke on the Water", staunch guitar riffing with juicy solos and escorted by slippery supersonic synths flying overhead, you will cream your jeans here, boys and girls! Smooooookin'! The intent is again to highlight a sense of enjoyment and not necessarily a stab at crowning the hopeless charts, as music like this will never appeal to the current market anyway, too many solos and sharp playing for such an apathetic crowd. The disc finishes off with a Spooky Tooth/Uriah Heep vibe on the next one, 'a real rockinrolla'! bullied by a vituperative organ and a choppy blues style. "Detachment and Replacement" is a fine finale.
This is an ear catching debut album with some great pieces, their next one should determine their place in prog . I for one suggest to expand the progressive tendencies even further and delve into even more complex arrangements as well as wilder tonal explorations and maybe even reconnoiter some more profound themes. A pleasant azure artwork seals the teal (oops I mean, deal), a fantastic discovery that needs a wider audience. Devout Genesis fans unite and search out "Blue"!
4 floating ocular cubes