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ELOY

Psychedelic/Space Rock • Germany


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Eloy biography
Founded in Hannover, Germany in 1969 - Several hiatuses in the 80's and 90's - Still active as of 2019

Taking their name from the "Eloi", the futuristic race of people in H.G. Wells' The Time Machine, ELOY was initially formed in 1969 in Germany. Inspired by THE SHADOWS and THE BEATLES, they became one of the major bands in the progressive rock scene highly influenced by the space rock of PINK FLOYD. They started off in Germany as a hard rock band with a political bent, but soon drifted into a spacier progressive rock sound. They have had a number of turnovers, with a major split in the 1980s that resulted in a move into more of a mainstream direction. Based mainly on founder Frank BORNEMANN's guitar solos, their music evolved to include more synthesizers and choirs.

They produced many albums between 1971 and 1998 with different line-ups. Their best period is the mid to late-70's with the trippier space-rock of "Inside" and "Floating" (with Manfred WIECZORKE later of JANE). "Dawn" is actually one of the better of the symphonic-era ELOY albums, perhaps even the best. "Ocean" is a concept album about Atlantis, and one of the pillar albums of the German symphonic scene, and certainly worth checking out. They followed up with "Silent Cries and Mighty Echoes", the year later to even greater success. During 1993-1994, ELOY released three best of collections and it wasn't until 1994 with the release of "The Tides Return Forever", that they recorded and toured again is released and the band reappeared live on stage for several successful shows in Germany. Their last album "Ocean 2", released in 1998, was a surprising come back of a progressive rock band, which stopped recently their stage-appearances.

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ELOY discography


Ordered by release date | Showing ratings (top albums) | Help Progarchives.com to complete the discography and add albums

ELOY top albums (CD, LP, MC, SACD, DVD-A, Digital Media Download)

2.89 | 268 ratings
Eloy
1971
3.78 | 468 ratings
Inside
1973
3.77 | 459 ratings
Floating
1974
3.67 | 466 ratings
Power And The Passion
1975
4.05 | 659 ratings
Dawn
1976
4.20 | 1148 ratings
Ocean
1977
4.05 | 690 ratings
Silent Cries and Mighty Echoes
1979
3.69 | 460 ratings
Colours
1980
4.00 | 488 ratings
Planets
1981
3.85 | 415 ratings
Time To Turn
1982
2.86 | 236 ratings
Performance
1983
3.19 | 292 ratings
Metromania
1984
1.98 | 87 ratings
Codename Wildgeese (OST)
1984
2.79 | 231 ratings
Ra
1988
2.62 | 192 ratings
Destination
1992
3.51 | 239 ratings
The Tides Return Forever
1994
3.75 | 312 ratings
Ocean 2 - The Answer
1998
3.29 | 265 ratings
Visionary
2009
3.28 | 129 ratings
The Vision, The Sword And The Pyre - Part I
2017
2.80 | 61 ratings
The Vision, The Sword and The Pyre - Part II
2019

ELOY Live Albums (CD, LP, MC, SACD, DVD-A, Digital Media Download)

4.03 | 170 ratings
Eloy Live
1978
4.31 | 109 ratings
Reincarnation On Stage
2014

ELOY Videos (DVD, Blu-ray, VHS etc)

3.73 | 45 ratings
The Legacy Box
2010
3.74 | 19 ratings
Live Impressions
2013

ELOY Boxset & Compilations (CD, LP, MC, SACD, DVD-A, Digital Media Download)

4.00 | 17 ratings
Wings Of Vision
1982
3.09 | 32 ratings
Rarities
1991
3.58 | 67 ratings
Chronicles I
1993
2.39 | 55 ratings
Chronicles II
1994
4.00 | 29 ratings
The Best Of Eloy Vol. 1 The Early Days 1972-1975
1994
3.67 | 3 ratings
Best
1994
3.52 | 18 ratings
The Best Of Eloy Vol. 2 The Prime 1976-1979
1996
2.66 | 18 ratings
Chronicles Vol. 1 & Vol. 2
2000
2.73 | 23 ratings
Timeless Passages - The Very Best of Eloy
2003
4.72 | 13 ratings
Silent Cries And Mighty Echoes / Colours
2011
3.00 | 5 ratings
Essential
2012
4.58 | 12 ratings
Inside / Floating / Power And The Passion / Dawn
2012
4.17 | 6 ratings
The Classic Years Trilogy - Box
2019
2.50 | 2 ratings
Long Progressive History
2020

ELOY Official Singles, EPs, Fan Club & Promo (CD, EP/LP, MC, Digital Media Download)

2.83 | 6 ratings
Walk Alone
1970
2.15 | 11 ratings
Daybreak / On the road
1973
2.86 | 12 ratings
Wings Of Vision / Sunset
1980
4.13 | 16 ratings
Silhouette / Horizons
1980
2.47 | 8 ratings
Wings Of Vision (Maxi)
1980
3.88 | 8 ratings
Time to turn / Through a somber galaxy
1982
4.00 | 5 ratings
Time To Turn / The Flash
1982
2.90 | 11 ratings
Fools
1983
2.40 | 5 ratings
Ra (Promo Single)
1987
2.25 | 8 ratings
Sensations
1988
2.32 | 10 ratings
Rainbow
1988
2.78 | 9 ratings
Call of the Wild
1992
2.67 | 6 ratings
Fire And Ice
1992
2.60 | 5 ratings
Generation Of Innocence
1994
3.06 | 7 ratings
Childhood Memories
1995
3.05 | 12 ratings
The Answer
1998
3.15 | 15 ratings
The Challenge
2009

ELOY Reviews


Showing last 10 reviews only
 Silent Cries and Mighty Echoes by ELOY album cover Studio Album, 1979
4.05 | 690 ratings

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Silent Cries and Mighty Echoes
Eloy Psychedelic/Space Rock

Review by prog_traveller!!

4 stars The story of the Eloy begins in the late 1960s, when four German boys with the Beatles' passion for psychedelia reunite, taking their name from the Eloi, a futuristic breed of a novel by H.G. Wells. The first album sees the light in 1971, and it is basically a hard rock record with some softer pieces. After some internal disagreements that lead them to separation from singer Erich Schriever, guitarist Frank Bornemann takes the reins of the group, which soon begins to be among the greatest exponents of space rock. This is particularly evident since the second work Inside, a psychedelic hard prog record full of references to Pink Floyd, Deep Purple and also approached by critics to Jethro Tull.

The album we are examining today was released in 1979, and is the album that closes Eloy's seventies period with a flourish, whose most famous album is undoubtedly the third Floating. The following Power And The Passion (1975) and Dawn (1976) are full of experimentation, the former thanks to the sound effects, and the latter thanks to the addition of an orchestra to the group reunited after another breakup. The line-up is now considered classic, which manages to be maintained for two other albums, the splendid Ocean (1977) and the here present Silent Cries And Mighty Echoes. After it, the group broke up again and reformed several times with only Bornemann as a permanent member, alternating symphonic phases with others.

So let the astral travel begin! Astral Entrance, nomen omen as never in this case, is a short introductory piece whose main element is Bornemann's solo electric guitar - as in all Silent Cries - which voluntarily mentions the already mentioned Pink Floyd, in particular those of Echoes, evoking the depths of infinite space. Master Of Sensation, for its part, begins with a pressing beat borrowed from fellow countryman krautrock, on which the strongly accented English vocal of Bornemann stands out. The dynamics are the highlight of the piece, in particular those of bass and drums, seasoned with various guitar and Moog solos by Schmitchen, and certainly there is no way to get bored in the 6 minutes of duration. Immediately following the album's most important song, the 14-minute suite entitled The Apocalypse. It is again the synthesizers that introduce the story, in an incipit that could wrongly remind of Tangerine Dream. For electronics tout-court, however, there is no space and The Apocalypse in fact is the perfect fusion between hard rock rhythms and more progressive parts, in a style that various neo-prog groups will resume in the future (Pendragon above all). The internal evolution of the piece is quite canonical, but it pays off with great solidity, thanks also to the female singing towards the middle that raises the vocal parts that are not particularly inspired. Speed is almost never at home, and we are faced with a slow and evocative song, introspective if you like, perfect for wandering with the mind. We return to moderate lengths with the subsequent Pilot To Paradise and we also return to the song form, provided that we can talk about songs in this musical genre. A beautiful work by the rhythm section supports Bornemann's dreamy lyrics and a staccato riff of an electric guitar with a hard rock flavor takes you directly back to the 70s, only to be absorbed - not to say suffocated - by the omnipresent symphonic synths , reappearing in the finale, heavier than one might have expected from the Eloy. The subsequent De Labore Solis gives us a new way to appreciate the grandiloquence of infinite space, leaving aside the drums, and equipping ourselves with arpeggiated guitar inserts in clean, in a sinister and monolithic piece, but which does not add much to what was said in precedence. Mighty Echoes starts out like prog rock, but then drops off strongly into the AOR range.

With Silent Cries & Mighty Echoes Eloy delivered one of those controversially discussed albums. Here, too, the positive reviews could outweigh, although many critics accused the band of being too close to Pink Floyd. The album was very well received by the fans and it sold well straight away. In fact, you have to mention the closeness to Pink Floyd, on Silent Cries & Mighty Echoes Eloy quite often quote Pink Floyd from their Wish You Were Here / The Dark Side Of The Moon phase and sounds that could be heard on Animals. Bornemann's guitar playing is heavily based on David Gilmour's style. But overall, from my point of view, the band still produced a good album. If you disregard the more ostensible guitar parts, the album even has a certain stylistic resemblance to Ocean. All in all, Silent Cries & Mighty Echoes is a thoroughly successful mix of typical Eloy sounds.

 Inside by ELOY album cover Studio Album, 1973
3.78 | 468 ratings

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Inside
Eloy Psychedelic/Space Rock

Review by CygnusX72

3 stars 1973's Inside sees Eloy finding their feet, this first real phase of the band being a space rock, symphonic rock, psychedelic rock amalgam. As reference points, think Pink Floyd, Deep Purple, a hint of Hawkwind, and a dollop of Yes. The overall feel is pretty moody, with extended instrumental passages, and sparse vocals. The shorter Future City is a strangely quirkier number, otherwise tracks like Land of Nobody and Inside are an exercise in slow burning atmosphere. All very well done, but its not an album I go back to very often, as I much prefer Eloy's output from the late 70s onwards, full of synthesisers, Frank Bornemann's wonderfully high-minded lyrics, and a more bombastic and direct approach. Fans of classic 70s prog will be best served starting with Ocean, Dawn, or Power and the Passion. Those of more a 80s neo-prog bent will adore the criminally overlooked and underrated Metromania (which I rate as one of the top 20 albums of all- time by any band).

Inside remains one for Eloy fans and those who prefer space-rock styling, but it would be going too far to label it as Krautrock - even here Eloy are far more mainstream prog, perhaps art rock. If you haven't given Eloy a listen, you are missing out on a great band, and make sure you check out the different eras as their sound has definitely evolved over the years.

 Ocean by ELOY album cover Studio Album, 1977
4.20 | 1148 ratings

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Ocean
Eloy Psychedelic/Space Rock

Review by prog_traveller!!

5 stars "Ocean", released in 1977, is the sixth full-length album of the German progressive group Eloy. It was the second album in the newly formed line-up with Klaus-Peter Matziol (bass), Detlev Schmidtchen (synths, organ) and Jürgen Rosenthal (drums), who together with mastermind Frank Bornemann (vocals, guitar) are probably the most popular Eloy line-up formed.

The myth is taken up by Eloy, who exalt the union between human and divine using earthly and celestial sounds, typical of progressive rock and space rock respectively. The band created a kind of underwater world feeling, to which extensive psychedelic passages were added here and there, on the other hand, contrasting but also powerfully rocking parts are presented. The concept has four pieces (two on each side of the record). In addition to the general musical performance, Klaus- Peter Matziol impressed once again with his outstanding, elegant, light-footed bass playing and Jürgen Rosenthal - who was also largely responsible for the textual content - with his inimitable, filigree-accented, "rolling" yet powerful drums .

The opening song, "Poseidon's Creation", tells the story of Atlantis - a mythical land rich in riches of nature where a developed civilization exists. However, this island was destroyed by a series of earthquakes and flooded by sea waters. The name of the mythological god Poseidon appears here, the ruler of the seas and oceans, who surrounded the island with high embankments and wide moats for the safety of the island. The descendants of Poseidon and an earthly woman named Kleito built a great city. They built a royal palace on the hill with the Temple of Poseidon inside. It was surrounded by golden walls and lined with silver ... As Bornemann sings - human eyes have never seen anything like this before. The passage on the instruments lasts almost to the fifth minute, in the background there are sounds imitating the sounds of echoes somewhere in the depths . Then the vocal enters. Frank sings continuously for over three minutes, and the song ends with a melody with the band's characteristic "bouncing" guitar, keyboards and choirs. The whole process takes less than 12 minutes. "Incarnation Of The Logos" was not intended to stick to the ground. It starts sleepily and delicately with the interweaving of Bornemann's vocals and Rosenthal's recitations on the background of airy keyboard background, only to take on a more lively character somewhere halfway after the bass and drums have entered, embellished with a great Detlev Schmidtchen keyboard part. "Decay Of The Logos" is also a first-class progressive ride with some interesting - not to be extreme moments - transitions and mood changes, but the crowning of the whole "Atlantis' Agony At June 5th - 8498, 13 PM Gregorian Earthtime" may seem to be the highlight of the release . It represents the redemption and purification of mankind understood and translated musically by the German band. Atlantis' Agony tells of the sinking of the legendary Atlantis for over 15 minutes. The song is introduced by a interesting voice. This is followed by a threatening-looking build-up of tension with beautiful effects and a kind of church organ. For about 8 minutes the song runs rather cautiously, and after that the first increases set in. The build-up of tension in the song is very successful.

Ocean is usually referred to as the best Eloy album and it is counted among the most important German rock albums. In terms of quality, there is little to complain about, the band was very good in terms of cast. The old problem remains, the singing or the mediocre English and the pathos that floats above everything. The bottom line is that this is a piece of classic symphonic progressive rock at its finest, whose stylistic channel approaches that of Pink Floyd, but still has enough distinctive characteristics to ensure the necessary ounce of independence and thus to make it unmistakably clear that Eloy sound like themselves first and foremost.

 Dawn by ELOY album cover Studio Album, 1976
4.05 | 659 ratings

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Dawn
Eloy Psychedelic/Space Rock

Review by prog_traveller!!

4 stars Despite significant personnel changes, "Dawn" does not present a drastic transition in style. Yes, there were strings, but the sound was relatively preserved. Of course, you can hear the ensemble's symphonization, which seems to be another natural step in the group's development.

It starts very dramatically with pattering rain and claps of thunder, and already with the first bars of "Awakening" you notice that the band is of a completely different caliber than on "Power and the Passion". The songs mostly merge directly into one another, "Awakening" is followed by the rocking "Between the Times" and the intimate "Memory Flash". "Appearance of the Voice" and "Return of the Voice" are provided with mostly spoken text (a female voice), which is not atypical for Eloy. In "Appearance" the contrast with Bornemann's vocals is attractive, in "Return" the contrast with a deep male voice . Then one of the most beautiful Eloy songs starts with "Sun-Song". For the first time, Schmidtchen really pulls off the leather and elicits truly unearthly sounds from his instruments. Slow keyboard surfaces build up until the singing starts about in the middle of the song. The title ends instrumentally at a brisk pace. However - as in the case of its predecessor - the best was kept for the last. "The Midnight Flight / Victory Of Mental Force" sounds incredibly fast, "Gliding Into Light and Knowledge" is drowsily and beautifully, and "Le Réveil Du Soleil / The Dawn" is also developing in an interesting way, seeming to be a delicate guitar duel -key on the background of a fairly slow pace. As you can see, Messrs. Bornemann and Schmidtchen can create incredibly engaging fragments together.

The album "Dawn" is just a foretaste of the real success - primarily artistic - for which the group has worked hard. In those forty minutes, there were elements of style and sound that set the path for the band that it will follow for the next few years and which will result in the best discs in the band's discography.

 Power And The Passion by ELOY album cover Studio Album, 1975
3.67 | 466 ratings

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Power And The Passion
Eloy Psychedelic/Space Rock

Review by prog_traveller!!

4 stars "Power And The Passion" was the first shift of the group's sound towards the classic formula of progressive rock. It was significantly softened, the Hammonds no longer occupied as much space in the construction of individual compositions as before, and moreover, Bornemann came up with a concept-album. It tells the story of the boy Jamie. He takes a time drug that takes him back in time. There some things happen to him that are processed in the songs. Finally, with the help of a magician, Jamie manages to return to "his" time.

Having abandoned the early hard rock, the group approaches a symphonic prog characterized by ample instrumental digressions. Music with a strong visionary impact. "Power and the Passion" is a dream journey that develops between hypnotic bass lines and keyboards in profusion, with the hammond always in great evidence. Essential, almost fairytale atmospheres, airy scores on which the caressing melodies of the guitars, rarely aggressive, stand out.

You can hear the changes in style from the very first minutes of the album. While in the opening "Introduction" Manfred Wieczorke can go a little crazy in a calmer key, in the next "Journey Into 1358", despite the rushing nature of the composition, it is not hard to notice that the band does not allow themselves such freedom of Krautrock madness as they used to.

The complete original first LP side is very strong. The hard rocker "Journey into 1358" introduces a lively dramatic introduction, before a climax comes with the ten-minute "Love over six centuries". After a short rocking introduction, the two protagonists take the lead with their spoken vocals (in which they tell the core of the story to each other first) and are accompanied by beautiful, gently bubbling keyboards in the background until the song increases dramatically towards the end. Very atmospheric, very good and one of the highlights in the entire Eloy repertoire. Side 2 with the shorter pieces is then slightly weaker. But maybe that's simply because I'm missing the long instrumental parts here. In any case, the story of Jamie and Jeanne is told in a musically varied way, crowned by the symphonic climax "The bells of Notre Dame".

"Power and the passion" is nothing more than building a bridge between the wild rocking Eloy from "Inside" and "Floating" to the symphonic-s that were still to come.

 Floating by ELOY album cover Studio Album, 1974
3.77 | 459 ratings

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Floating
Eloy Psychedelic/Space Rock

Review by prog_traveller!!

4 stars Floating comes from the early phase of the German band Eloy. It was the band's third album and was released in 1974. In this early phase Eloy was known for a mixture of Krautrock and Progrock. The songs were allowed to be longer and nested. In terms of cast, little had changed from the previous album. Eloy was: Frank Bornemann (vocals, guitar), Manfred Wieczorke (keyboards, guitar), Luitjen Jansen (bass) and Fritz Randow (drums). Only Jansen on bass was new to the band.

"Floating" is nothing but the twin brother of "Inside". Same concept, same sound. Guitar shows bordering on psychedelic and hard-rock, Hammonds in all their glory plus a progressive approach; a lot of transitions, creating the right mood.

Overall, Floating adheres relatively closely to the specifications of the previous album. The intro song Floating is surprisingly short, but sounds typically like Eloy. An instrumental, very rhythmic and driving with fat organ sounds and nice guitar riffs, which also seem a bit bumpy. This is followed by a rather long piece with The Light from Deep Darkness. Thematically, it is almost a self-contained opus that deals with the origins and fall of the world. The structure of the song is correspondingly diverse, in places it is perhaps comparable with the even longer The Land Of No Body from the previous album. Castle in the Air is not that long. Here the band offers the spoken vocals that are quite typical for Eloy, plus there are relatively many guitar solos, which in places lead to a smaller guitar vocal battle and feature short drum solos. The song is particularly surprising because the keyboard part is comparatively small. The whole is complemented by the dark and sleepy developing "Plastic Girl" and the cool, hit "Madhouse" with the memorable Bornemann vocals and interesting transitions.

A fine psychedelic krautrock album. However, Bornemann pulled the emergency brake after Floating and gave the band's development a different direction, which corresponds more clearly to what we feel when the name Eloy is mentioned.

 Inside by ELOY album cover Studio Album, 1973
3.78 | 468 ratings

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Inside
Eloy Psychedelic/Space Rock

Review by prog_traveller!!

4 stars From the hard rock of their eponymous debut, Eloy promptly moved towards a progressive space-rock with the line- up redesigned by their founder, guitarist Frank Bornemann. Recorded in 1972, "Inside" had some commercial success. Basically, "Inside" is built around a winning combination of melody, symphonic prog and long jams. The musical pattern, without the addition of winds or any percussion, is the classic one of rock. The structure of the songs is not complex, but the disc is strong in memorable melodies, original arrangements and meaningful lyrics; essentially in the tracks there are consecutive mesmeric riffs of bass and drums, while guitars and organ alternate improvising the sound direction and rhythmic support.

It starts with Land Of Nobody, which covers over 17 minutes of the album with its sonic livery, starting rather ominously with a dark sound, it soon develops into a classic prog dominated by organ play, which struggles with the guitar for the listener's attention. Noteworthy is the rhythm section by Randow and Stöcker: in fact, when Bornemann's voice enters the scene it fits perfectly with the menacing grooves of the bass, creating an annihilating atmosphere.

"Future City" is characterized by pleasant percussive overtones and constant guitar work throughout the jam, which then flows into the final "Up and down", a classic combination of Eloy elements, made up of languid spatial detonations, fat string textures organ and a sublime and slow mix of jazz and background blues. "Up & Down" can also be enjoyed. Maybe it is not as characteristic as the other numbers on the disc. However, the sound of the song fits nicely into the whole release.

Inside is a very enjoyable progressive album, not purely Krautrock in the puristic sense of the term. It sounds rather like an album recorded in England, were it not for the strong German accent of the leader Bornemann and the Teutonic chill of the menacing organ of Wieczorke.

 Ocean by ELOY album cover Studio Album, 1977
4.20 | 1148 ratings

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Ocean
Eloy Psychedelic/Space Rock

Review by Lieutenant_Lan

4 stars Ocean is the 6th studio album from the band Eloy that released in 1977. Ocean is a concept album that tells the story of the sinking of Atlantis. Why Ocean decides to tell this story is not completely clear to me because I can think of several reasons for the telling of this story, so ill let you decide. One of the great things about art is the ability to interpret it in many ways, and I think this album represents that greatly. The album is very ambient at times, spacey, and watery, thanks to the fantastic synth playing by Detlev Schmidtchen, he does a good job at portraying the lyrics through the music. Of course everyone on the album shows great instrumentation as well. The lyrics are good but the vocals are definitely not for me, most of the time hes just talking. other than that I really enjoyed this album and would easily recommend this to anyone. 4/5 excellent addition to any prog collection.
 Metromania by ELOY album cover Studio Album, 1984
3.19 | 292 ratings

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Metromania
Eloy Psychedelic/Space Rock

Review by friso
Prog Reviewer

4 stars Now here's a geeky record full of sci-fi drenched eighties synth-rock with some minor progressive moments. When I listen to other Eloy records I often find them a bit unrefined, but this most typical of eighties records is actually something the band does really well. There's just a layer of authenticity that makes the faulted magic of eighties synth-rock work here; I really find myself drifting off to the world the cover art imagines. The album would work really well as a soundtrack for sci-fi animation movies like 'Heavy Metal' or 'Wicked City'. The album has two longer songs that have a little more to offer for the progressive rock listeners. 'All Life is One' has a nice dark mysterious vibe and great electronic effects. 'Follow the Light' is a nine-minute slow-burner with a nice female choir. It has some great instrumental sections as well and ends rather interestingly with a mellow synth outro. The other songs are in the pop-music format, but are filled with layers of atmospheric synths and cliche guitar riffs that dó sound right here. 'The Stranger' is perhaps the most catchy of them, but none of them are below average. Some extra guitar leads by Bornemann wouldn't have hurt though. 'Nightriders' sounds like it could have been an Eloy cover of a Motorhead song like 'Lawmen'. Pumpin' and working towards some exciting highs. The solo reminds me of the sound Iron Maiden would chose on the 'Somewhere in Time' album. The title song 'Metromania' is the most electronical song and reminds me a bit of Tangerine Dream's music of that time. The band Saga comes to mind as well. A pretty solid ending for an already strong second side of the record. In conclusion; this a very catchy and atmospherical record that is more consistant and complete than the records Hawkwind would produce in the same time period. For now it is my favorite Eloy album.
 Ocean by ELOY album cover Studio Album, 1977
4.20 | 1148 ratings

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Ocean
Eloy Psychedelic/Space Rock

Review by boa

3 stars This is a very cool album. So why only three stars? The first song is really a four plus star quality, but the rest of the songs are not that fantastic. I actually discovered this album thru ProgArchives, so big thanks. I'll focus on the opening track, since it's my favorite: It's so groovy with the whole band working together, and i love the way it builds and builds with just a few chord-changes, and then when it finally drops, it's magic, with magic flutes and all.. so yeah. Listen to that mean bass-line! I do hear some Pink Floyd influences on the guitar, in a positive way in my opinion. The vocals are with a heavy German accent, and i actually dig it. Very prog-lyrics about Poseidon and Atlantis and what not. This album is a very nice discovery for me!
Thanks to ProgLucky for the artist addition. and to Quinino for the last updates

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