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ELOY

Psychedelic/Space Rock • Germany


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Eloy biography
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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DawnDawn
Import · Remastered
EMI International 2004
Audio CD$4.35
$6.15 (used)
PlanetsPlanets
Extra tracks · Import · Remastered
Imports 2005
Audio CD$5.57
$7.55 (used)
Power & PassionPower & Passion
Import · Remastered
EMI Import 2000
Audio CD$4.98
$5.61 (used)
OceanOcean
Import · Remastered
EMI Import 2004
Audio CD$4.51
$5.56 (used)
FloatingFloating
Import · Remastered
Caroline World Service 2008
Audio CD$5.77
$2.99 (used)
Silent Cries and Mighty EchoesSilent Cries and Mighty Echoes
Extra tracks · Import · Remastered
Imports 2005
Audio CD$5.57
$5.68 (used)
PerformancePerformance
Extra tracks · Import · Remastered
Emi 2005
Audio CD$4.34
$5.97 (used)
ColoursColours
Extra tracks · Import · Remastered
EMI International 2005
Audio CD$5.50
$6.78 (used)
LiveLive
Import · Remastered
EMI Import 2004
Audio CD$3.85
$3.89 (used)
DestinationDestination
Import
Spv Germany 1992
Audio CD$73.86
$9.93 (used)
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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)

2.84 | 219 ratings
Eloy
1971
3.75 | 353 ratings
Inside
1973
3.72 | 347 ratings
Floating
1974
3.66 | 359 ratings
Power And The Passion
1975
4.03 | 512 ratings
Dawn
1976
4.21 | 870 ratings
Ocean
1977
4.02 | 534 ratings
Silent Cries And Mighty Echoes
1979
3.70 | 364 ratings
Colours
1980
4.00 | 394 ratings
Planets
1981
3.86 | 327 ratings
Time To Turn
1982
2.83 | 183 ratings
Performance
1983
3.13 | 219 ratings
Metromania
1984
2.01 | 74 ratings
Codename Wildgeese (OST)
1984
2.77 | 183 ratings
Ra
1988
2.60 | 156 ratings
Destination
1992
3.49 | 186 ratings
The Tides Return Forever
1994
3.76 | 247 ratings
Ocean 2 - The Answer
1998
3.28 | 223 ratings
Visionary
2009

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

4.02 | 136 ratings
Eloy Live
1978
4.34 | 80 ratings
Reincarnation On Stage
2014

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

3.70 | 32 ratings
The Legacy Box
2010
4.22 | 9 ratings
Live Impressions
2013

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

4.08 | 15 ratings
Wings Of Vision
1982
3.08 | 23 ratings
Rarities
1991
3.56 | 52 ratings
Chronicles I
1993
2.28 | 41 ratings
Chronicles II
1994
4.01 | 21 ratings
The Best Of Eloy Vol. 1 The Early Days 1972-1975
1994
0.00 | 0 ratings
Best
1994
3.59 | 17 ratings
The Best Of Eloy Vol. 2 The Prime 1976-1979
1996
2.56 | 12 ratings
Chronicles Vol. 1 & Vol. 2
2000
2.68 | 19 ratings
Timeless Passages - The Very Best Of Eloy
2003
4.00 | 5 ratings
Silent Cries And Mighty Echoes / Colours
2011
3.50 | 2 ratings
Essential
2012
3.75 | 4 ratings
Inside / Floating / Power And The Passion / Dawn
2012

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

2.75 | 4 ratings
Walk Alone
1970
2.11 | 7 ratings
Daybreak / On the road
1973
2.52 | 7 ratings
Wings Of Vision / Sunset
1980
3.90 | 10 ratings
Silhouette / Horizons
1980
2.08 | 4 ratings
Wings Of Vision (Maxi)
1980
3.25 | 4 ratings
Time to turn / Through a somber galaxy
1982
2.00 | 1 ratings
Time To Turn / The Flash
1982
2.76 | 8 ratings
Fools
1983
2.00 | 1 ratings
Ra (Promo Single)
1987
2.17 | 6 ratings
Sensations
1988
2.27 | 6 ratings
Rainbow
1988
3.00 | 6 ratings
Call Of The Wild
1992
2.50 | 4 ratings
Fire And Ice
1992
2.00 | 3 ratings
Generation Of Innocence
1994
2.92 | 4 ratings
Childhood Memories
1995
3.00 | 9 ratings
The Answer
1998
3.10 | 11 ratings
The Challenge
2009

ELOY Reviews


Showing last 10 reviews only
 Wings Of Vision / Sunset by ELOY album cover Singles/EPs/Fan Club/Promo, 1980
2.52 | 7 ratings

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Wings Of Vision / Sunset
Eloy Psychedelic/Space Rock

Review by Progfan97402

4 stars This 1980 single is a bit different from what you expect out of Eloy. "Wings of Vision" is an obvious attempt at sounding just like Duke-era Genesis, which happen to come out roughly the same time. It's really funny to hear Frank Bornemann attempt to sing like Phil Collins, but in the end still sound like Frank Bornemann. Even Hannes Folberth attempts some Tony Banks-type keyboards, but from his synths, but then there's a spacy break that's undeniably Eloy. I was really tripping out that Eloy would go Genesis on us like that. You can tell Jim McGillivray's style is his own, he doesn't attempt to imitate Phil Collins' drumming. As for the B-Side, "Sunset", it's a short instrumental synth-piece, already found on Colours, so if you have Colours, no surprises here as it's directly taken from the album.

I can see not everyone will like "Wings of Vision", but I do, but just think of it a Duke-era Genesis song done by Eloy, and you'll be fine.

 Codename Wildgeese (OST) by ELOY album cover Studio Album, 1984
2.01 | 74 ratings

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Codename Wildgeese (OST)
Eloy Psychedelic/Space Rock

Review by Progfan97402

2 stars Pretty bogus, if you ask me, and it's not even that particularly good. This is a soundtrack to some war flick starring Ernest Borgnine called Codename: Wildgeese, coming out roughly the same time Borgnine was busy with the Airwolf TV series playing Dominique Santini. This isn't Eloy, but three ex-Eloy members Hannes Arkona, Hannes Folbert, and Klaus-Peter Matziol with Jan Nemec. This is basically instrumental incidental music that might function fine in the film (I have little desire to watch the movie, because although I grew up in the 1980s and watched Airwolf as a youth, I couldn't stand Ernest Borgnine) but try actually listening to it. It's a bit like the synthy parts of Metromania, but at least with that album you get real songs and of course Frank Bornemann's input, making that a true legitimate Eloy album. I think this disaster could have easily been avoided if it credited as a Hannes Arkona & Hannes Folberth album. That's basically what it is, and even then, the music quality wouldn't be any better. The music on Codename: Wildgeese, from what I remembered sounded like half-sketched ideas rather than full-on songs. I even get the feeling both of the Hannes seems like without Frank Bornemann as their guidance, they're sunk. Also notice that EMI Records (Harvest being a subsidiary of EMI) had nothing to do with this, released on some small Swiss label called Milan. If you never owned this, really, you're not missing much. Stick with the real Eloy albums.
 Reincarnation On Stage by ELOY album cover Live, 2014
4.34 | 80 ratings

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Reincarnation On Stage
Eloy Psychedelic/Space Rock

Review by Modrigue
Prog Reviewer

4 stars For their 45th anniversary, ELOY releases its second official live album, "Reincarnation on Stage". The set-list features extracts from the Bornemann and co.'s best records since 1975: "Power and the Passion", "Dawn", "Ocean", "Silent Echoes and Mighty Cries", "Colours", "Planets", "Time to Turn", "Metromania", "The Tides Return Forever" "Ocean 2" and "Visionary". The songs are mostly rather faithful to their original studio versions, a bit rock-ier.

The first disc has a few modifications though. "Namaste" is pleasant ambient opening with spoken words in English. The guitars on "Child Migration" are heavier, however the introduction is absent and the synthesizer, less present. The track thus increases in intensity but loses a piece of its charm. The final "Echoes"-like bass driven part of "The Apocalypse" has also been removed. "Age of Insanity" and "Illuminations" feature nice keyboard solos, while Frank Bornemann demonstrates his guitaristic talents on "Silhouette". "Horizons" has a strange sound which results in an average rendition.

There are much less variations on the second disc. The live versions of the songs simply rocks! The only noticeable change is that "Atlantis' Agony"'s long overture has been cut off. "Thoughts" is a pretty conclusion.

"Reincarnation on Stage" is a great overview of the band's career, as the set-list covers more than 30 years. As on the 1978 "Live" album, there are no big surprises, but the performances are very nice. This double live album should please all fans of Bornemann and co. and is also a good way to discover ELOY.

 Eloy Live by ELOY album cover Live, 1978
4.02 | 136 ratings

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Eloy Live
Eloy Psychedelic/Space Rock

Review by Modrigue
Prog Reviewer

4 stars After the success of "Dawn" and especially "Ocean", ELOY is now popular enough to tour in Germany and to release their first live album, simply titled "Live". The track-list consists mainly of tracks of the two aforementioned opuses, with one song from "Inside" and "Power and the Passion". There is no material from their debut, as it is not really ELOY yet, and from "Floating", as its style has always been a bit apart in the Germans' discography. In fact, "Ocean" was initially entirely performed, but, due to technical issues, "Decay Of Logos" had to be removed from the recording.

The live renditions are overall faithful to their studio versions. Some passages have been made more theatrical and features spoken sentences in German. As there were no orchestra, the tracks from "Dawn" are lighter, but nonetheless very nice, even if I'm not a big fan of "The Sun Song" and "Gliding Into Light And Knowledge". "The Dance In Doubt And Fear" is in fact followed by "Lost!? (Introduction)". A powerful moment with a pretty guitar solo in the beginning. As they were not originally played by the "golden" line-up, "Mutiny" and "Inside"'s reinterpretation are quite bombastic. "Atlantis' Agony" has been stretched to 21 minutes. This rather useless and lengthy extension concerns the ambient spacey introduction and does neither really bring something interesting nor enhance the source composition.

For Bornemann and co.'s lovers, there will be no big surprises here, unlike GROBSCHNITT's "Solar Music Live" for example. However, this release is still very good, proving that the band could deliver a robust performance. At this period, during the punk explosion, there were not many live albums from progressive rock bands at this period.

Recommended to ELOY and space rock fans.

 Visionary by ELOY album cover Studio Album, 2009
3.28 | 223 ratings

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Visionary
Eloy Psychedelic/Space Rock

Review by Modrigue
Prog Reviewer

3 stars Eleven years after the band's previous studio album, "Ocean 2", the least that we can say is that Bornemann and co. did not take many risks with this new opus. "Visionary" contains conventional and smooth ELOY space rock compositions. Rather consensual, the songs have also been shortened. A noticeable change is the definitive reintegration of Hannes Folberth, ELOY's keyboardist from 1980 to 1984, and invited as a guest on "Ocean 2" for "Ro Setau".

The first two tracks incorporate flute. The melancholic "The Refuge" is an efficient soft space rock opener. Maybe the only true innovative passage, as it sometimes sounds like JETHRO TULL. Supported by modern rhythms, "The Secret" is rather calm and enjoyable, although a little long. "Age Of Insanity" is the most interesting track of the record. A punchy fantasy space prog composition featuring nice guitar and keyboards solos.

As its title suggests, "The Challenge (Time To Turn Part 2)" is a copycat of the eponymous title track of 1982's "Time to Turn" album. Not much to say about it, except that this variant is not very original. "Summernight Symphony" quite reminds PINK FLOYD's "Comfortably Numb" with its chord progression and hazy ambiance. The slow 9 minutes "Mystery" is the longest song of the record. Rather average, with not many variations, it fails to really lift off and does not justify its length. As a closing track, "Thougts" is a nice acoustic short piece with a pretty melody.

"Visionary" contains no real bad tracks, but no genuine surprises or memorable tracks either, except maybe "Age Of Insanity". For sure this new opus does not revolutionize ELOY's musical universe. However, despite its lack of originality and fantasy, this album is overall a pleasant listen.

 Ocean 2 - The Answer by ELOY album cover Studio Album, 1998
3.76 | 247 ratings

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Ocean 2 - The Answer
Eloy Psychedelic/Space Rock

Review by Modrigue
Prog Reviewer

3 stars The long awaited sequel of ELOY's "Ocean" album finally arrives 21 years after the original. Contrarily to what its title may suggest, the music of "Ocean 2" is quite different from the iconic 1977 opus. It also marks an evolution in style and production quality compared to their recent previous releases. All ingredients of Bornemann and co. are present: spacey guitar and synthesizers, epic choirs... and a flute. The tracks become longer and totalize nearly one hour of music, which make "Ocean 2" the longest and most ambitious studio release by the germans. However, compared to ELOY's typical fantasy space prog style, the compositions sound more polite and smooth, less extravagant and memorable than usual.

The short opener "Between Future And Past" reminds PINK FLOYD with its clock and spacey "Shine On"-ish overture. It introduces the melancholic "Ro Setau", one of the best passages of the record, featuring an aggressive metal riff, female voices, and a nice minimoog solo by early 80's keyboardist Hannes Folberth, invited as a guest for this track. "Paralysed Civilisation" is another catchy song with variations and an extended guitar solo by Frank Bornemann. The beginning and end parts are in the style of the "Planets" album. "Serenity" is a calm aquatic pause before the more rhythmic "Awakening Of Consciousness". Its heroic melody fantasy space rock sounds more like typical ELOY.

The 13 minutes "Reflections From The Spheres Beyond" sound overall rather flat and fails to really lift off. Despite its various ambiances, this track has too rare good moments to justify its length. The weakest passage of the record. The first part of "Waves Of Intuition" sounds again very floyd-ish as Bornemann tries to sound like Roger Water. This song is nonetheless pretty nice. In the tradition of ELOY's 90's albums closing tracks, "The Answer" is grandiloquent and features this time the Prague Philharmonic Choir. Despite its heavy metal ambiance, this tune is a little flat and repetitive and fails at being the awaited epic ending.

"Ocean 2" is an ambitious album but could have been shortened. It's a pity the longest compositions are also the weakest. Its polite sophistication in sound and arragements also restricts a little the fantasy and magical side typical of ELOY's musical universe. Although this last opus from the 90's does not hold all the great promises due its title, it however remains quite pleasant and unique in the germans space rockers' discography.

 The Tides Return Forever by ELOY album cover Studio Album, 1994
3.49 | 186 ratings

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The Tides Return Forever
Eloy Psychedelic/Space Rock

Review by Modrigue
Prog Reviewer

3 stars ELOY returns for good

After ten years of errance and unsuccessful exprimentations in other genres, ELOY finally goes back to the style they're most talented for: fantasy / symphonic space rock. Only two years after their worst album, "Destination", the band deliver their best release since 1984's "Metromania".

"The Tides Return Forever" features a few changes showing Bornemann and co.'s will to recover the recipe that made their success. First, the classic ELOY logo is back. Second, Klaus-Peter Matziol, the bassist from ELOY's "golden age" definitely reintegrates the band. Third, the production and sound quality have greatly improved and have finally escaped the 80's. Nico Barretta's drumming is much less present and loud. Finally, and the most noticeable, the inspiration is present.

This can be heard from the first notes of "The Day Of Crimson Skies". An nice efficient opener inviting you to the journey. The first long piece, "Fatal Illusions", has a spacey intro with a gilmourian-guitar, as well as rythms and ambiances changes. This 10 minutes composition looks a little flat compared to their previous middle-length compositions, but is nonetheless quite enjoyable. The slow "Childhood Memories" is not bad, although a bit soapy.

"Generation Of Innocence" sounds surprisingly 80's hard rock. In terms of sonorities and quality, this represents what you would have expected on the "Ra" album. A direct and pleasant song. The smooth and melancholic title track sounds sometimes a bit floyd-ish again with its female vocals. Despite being the shortest song, "The Last In Line" is my favorite of the record. A nice synth space rock tune with a catchy melody.

The 10 minutes "Company Of Angels" is the longest and heaviest composition of the disc. Like the corresponding ending track of "Destination", it is inspired by Jeanne d'Arc, however this time the song is much more listenable. Again, the mini epic sees the band venturing outside their usual musical territory, as it more resembles a symphonic metal song, with epic choirs and female singing. The final result is a little odd and out of place, but has its moments.

This second 90's effort from ELOY is encouraging and more convicing that the previous one. Despite its weaker passages, dated synthetizers and reduced risk-taking, this record possesses a good sound quality, a mastered balance and a recovered inspiration. While not essential, "The Tides Return Forever" is a pleasant and accessible fantasy space rock album, as well as a good entry point to discover the band.

ELOY is back in the game, and that's the most important.

 Metromania by ELOY album cover Studio Album, 1984
3.13 | 219 ratings

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Metromania
Eloy Psychedelic/Space Rock

Review by Modrigue
Prog Reviewer

4 stars Welcome to synthesizer space rock city

As the last good album from ELOY's second life during the early 80's, "Metromania" marks the end of an era. Musically, the style is the globally the same as on "Performance", more direct and synthetic, except that the inspiration is constantly present this time. This opus can be seen as a matured version of its predecessor, with solid compositions. Some passages are nervous, others are more progressive, overall the songs are quite catchy space- rock pieces, sounding even heavy metal sometimes. The important use of synthesizer, electronic drums, vocoder and the absence of long guitar soli reinforce the robotic, dehumanized musical ambiance, which is finally adapted to the futuristic city theme.

One remark concerning the Rodney Matthews cover art: the classic ELOY logo (since 1975) has been replaced in favor of a new one. In fact, this is not its first appearance, as the U.K. edition cover arts of "Planets" and "Time to Turn" already features this new logo and art by Rodney Matthews. I personally prefer these alternative covers and find this logo more suited to the band's 80's sci-fi fantasy prog style. Furthermore, it is present on my three favorite ELOY albums from this period, a coincidence?

"Escape To The Heights" is one of the Germans' fastest track, as well as an efficient punchy opener. "Seeds Of Creation" is also good, a slower piece that makes you wandering into this distant megalopolis. The ambient "All Is One" is maybe the least interesting passage of the disc, but nonetheless enjoyable with its good finale. "The Stranger" is a nice synth rock song, proving that ELOY has not lost its talents. It even contains an aerial space disco passage.

The 10 minutes long "Follow The Light" is the most progressive passage of the record. Featuring many changes, it opens with a soft spacey electronic introduction to then unveil a powerful hymn. This track will often be played at concerts. The agressive "Nightrider" is a nervous hard / heavy metal composition, evolving in a dark atmosphere. The title song concludes the disc on a positive note with its galloping synthesizer and heroic melody.

To sum up, there is no genuine weak track, the quality is homogeneous, and the musical style is coherent with the cover art. Despite dated electronic sonorities, this album possesses its own charm and identity. Unfortunately, due to internal conflicts, the band will split up after this release. This will mark a sudden break in the Germans' career, as Bornemann and co. were regular in terms of release frequency (1 album per year since 1973) and musical inspiration.

"Metromania" is an underrated album, and ELOY's most futuristic opus, but also its last good one of the 80's.

 Performance by ELOY album cover Studio Album, 1983
2.83 | 183 ratings

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Performance
Eloy Psychedelic/Space Rock

Review by Modrigue
Prog Reviewer

3 stars ELOY turns FM

Curious cover for a curious title. This record is the very last I listened from ELOY. To be honest - and as a big fan of the band - for a long time, I didn't know "Performance" even existed. Is this a live release? No, it's ELOY's 1983 official studio album, in the middle of what can be called their second life. How came I never heard of it before? Let's see...

"Performance" shows the band's musical style turning more radio-friendly. Less progressive, the compositions are now more direct, upbeat and keyboards-dominated. The sound is also more plastic and synthetic, whereas the quality and inspiration have decreased. After the ambitious "Planets" and the effective "Time to Turn", the first listen may be a bit surprising.

The change is perceptible from the opening track, "In Disguise". In fact, once the shock is gone, this is a rather correct punchy song. "Shadow And Light" is also a nice hard space rock moment with its incisive riff and variations. In contrast, "Mirador" is a quite useless and repetitive instrumental. "Surrender" is the weakest track of the record, out of place and cheesy.

The enjoyable "Heartbeat" features a cool bass line and introduces the usage of the vocoder, which is on par with the synthetic musical style. "Fools" is the best track of the record, a catchy rocking ELOY moment with a good guitar solo. The ending song, the 8 minutes "A Broken Frame", is also the longest. Unfortunately, this composition is rather average and does not really justify its length.

Except the first self-titled debut opus, "Performance" is Frank Bornemann's least favorite ELOY record, its songs are rarely played at concerts. However, this is certainly not the germans' worst studio album. Containing no genuine remarkable track (except maybe "Fools"), this opus is surely not great, but not bad either. As the band's least memorable opus of the 1973-1984 period, it contains nice catchy passages worth listening though. The last album to discover from this period, but ELOY still lives...

 Time To Turn by ELOY album cover Studio Album, 1982
3.86 | 327 ratings

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Time To Turn
Eloy Psychedelic/Space Rock

Review by Modrigue
Prog Reviewer

4 stars Say, ELOY turns floyd-ish again, is it really true?

"Time to Turn" was initially planned as a double-album with "Planets". As the progressive genre was not very highlighted in the beginning of the 80's, the Harvest label refused. The two albums were finally released as a dyptic, which was a reasonable decision. The musical style, sound and inspiration are in continuity with their previous opus, however featuring more guitars and bass as well as a few surprises. Frank Bornemann is more present and delivers some inspired soli. It also marks the return of drummer Fritz Randow, who played in the band during 1973- 1975, and of some PINK FLOYD's borrowings. However, ELOY's style is now quite new, the germans' fantasy sci-fi prog compositions cannot be compared to what their elder british brothers did. So, there should be less controversy this time.

"Through A Somber Galaxy" is a catchy good space-rock opener. ELOY is style alive, and Bornemann gives us a nice gilmour-ian guitar solo. The progressive "Behind The Walls Of Imagination" is a nice track with mysterious intro and a melancholic ambiance. The title track gives some arguments to the band's detractors, as it can be regarded as their reinterpretation of "Another Brick in the Wall Part 2". The bass and guitar lines are quite reminiscent of the well known song, as well as the kids' chorus. Nonetheless, as said before, the musical style is different, it's fantasy sci-fi here. Anyway, a very nice track in ELOY's discography.

The ambient electronic "Magic Mirrors" is less melodic and more melancholic. An enjoyable piece. The highlight of the record is undoubtly the 9 minutes mini-epic "End Of An Odyssey". The most progressive track, its spacey intro and various atmospheres will make you travel through stellar systems. In contrast, "The Flash" is the weakest composition here. It sounds like a RUSH's tune from the "Signals" or "Grace Under Pressure" period, however less inpired. The ending song, "Say, Is It Really True" is also the most surprising. Mainly a short acoustic guitar piece, in the style of you-know-who's "Wish You Were Here". Although this exercice is quite new for ELOY, the result is convincing.

"Time to Turn" is ELOY's best 80's album, with "Planets". Whether you prefer the black or the grey one is just a matter of taste. "Planets" is more coherent and dominated by synthetizers, whereas this 1982 opus is more rock oriented and less lyrical. Again, the music still sounds a bit dated, but,at the time, there were not many progressive records of this quality.

Very recommended to space-rock lovers and ELOY fans.

Thanks to ProgLucky for the artist addition.

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