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Eroc Eroc album cover
3.35 | 26 ratings | 6 reviews | 15% 5 stars

Good, but non-essential

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Studio Album, released in 1975

Songs / Tracks Listing

1. kleine eva (12:02)
2. des tauberers traum (5:22)
3. toni moff mollo (0:48)
4. die musik vom "ölberg" (1:13)
5. norderland (6:26)
6. horrorgoll (6:30)
7. sternchen (3:31)

Total Time: 35:52

2005 Brain Records CD re-issue (* unpublished bonus tracks):

1. Begrüßung (1:39) *
2. Kleine Eva (11:53)
3. Des Zauberers Traum (5:22)
4. Toni Moff Mollo (0:46)
5. Die Musik Vom Ölberg (1:26)
6. Chaotic Reaction (3:48) *
7. Norderland (6:30)
8. Horrorgoll (6:36)
9. Sternchen (3:34)
10. Teenage Love '69 (5:20) *
11. Abenfrieden (2:25) *
12. Ostergloingg (2:53) *
13. Andromeda (2:21) *

Total Time: 54:54

Line-up / Musicians

- Eroc (Joachim Heinz Ehrig) / keyboards, electronics, guitar, drums

Releases information

LP Brain 1069
CD Universal 060249827945

Thanks to Philippe for the addition
and to Neu!mann for the last updates
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Buy EROC Eroc Music

Eroc 1Eroc 1
Revisited Records 2005
$39.46 (used)
Eroc 4Eroc 4
Revisited / Brain Records 2007
$12.74 (used)
Eroc 3Eroc 3
Revisited / Brain Records 2007
$14.99 (used)
Eroc 2Eroc 2
Spv Import 2007
$14.52 (used)
Eroc 2 by EROC (2007-05-22)Eroc 2 by EROC (2007-05-22)
Revisited Records
Changing Skies by Eroc (2009-03-24)Changing Skies by Eroc (2009-03-24)

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EROC Eroc ratings distribution

(26 ratings)
Essential: a masterpiece of progressive rock music(15%)
Excellent addition to any prog rock music collection(31%)
Good, but non-essential (38%)
Collectors/fans only (12%)
Poor. Only for completionists (4%)

EROC Eroc reviews

Showing all collaborators reviews and last reviews preview | Show all reviews/ratings

Collaborators/Experts Reviews

Review by soundsweird
4 stars An excellent blend of electronic music, rock, and experimental music, all done with a sense of humor and a touch of innocent whimsy. And best of all, it's finally available on an official CD release (Germanophon, the pirate label that put out the early Kraftwerk albums on CD, released a bootleg version taken from a scratchy vinyl record several years ago). This is the first solo release by Grobschnitt's drummer, and the music bears little resemblance to the music of that band. Since all the instruments were played by Eroc, the album has a DIY sound, but the sheer originality on display here makes up for any performance shortcomings. I suppose one could compare the music here to Faust's, just as a point of reference (experimental goofiness is a common thread). Lots of bonus tracks on the aforementioned Japanese reissue, some of which are good. It is an expensive import, mind you....
Review by philippe
SPECIAL COLLABORATOR Honorary Collaborator
5 stars The first and best effort by Eroc (Grobschnitt) in solo. A magnificent and ambitious affair that directly leads Eroc to the pinnacle of German progressive synth eccentricities. Nothing is "cosmic" or "trip out" as in Klaus Schulze, Conrad Schnitzler and others but it remains surprisingly weird and accessible at the same time. The argument is organic, cerebral and humorous with lot of manipulations in studio (voice and other sounds). "kleine eva" is a synth dominated song with flowing and beautifully sweet melodies. "des tauberers traum" is a darker track, including "loopings" and repetitive organic fragments. "toni moff mollo" is one of these particular and satirical sketches we can find in later albums. "die musik vom ölberg" is an enthusiastic, funny synth composition with a more commercial and dated flavour. "norderland" is one of my favourite Eroc's compositions; a moment of rare introspection and desolation with plaintive electric guitar lines & glissando, drums and sound effects. Great!!
Review by hdfisch
2 stars Honestly I wouldn't consider any of the solo works by Grobschnitt drummer Joachim Ehrig aka Eroc an essential addition for a Prog collection, even not for one based on Krautrock I would say. Certainly there are some experimental parts included, mainly with electronic sound and tape recordings but on the other hand after taking out those few ones and some recorded smalltalk (which isn't even funny if you're a native German speaker) there's not much left over that's able to impress me. After subtraction of those experiments and supposed to be jokes we get to listen some nice and pleasant music played on guitar, synthesizer and accordeon which could easily do its job as some background acoustic irradiation, something that might be called Muzak. I mean, a track like the super-long (and much too long if you ask me) "Little Eva" could have entertained easily my grandma (born 1900) getting me to the point to question what that's supposed to do with progressive music. It might have to do with the fact that I'm really not into electronic music, usually I find it rather suckin' than fascinating. Don't get me wrong that's a lovely track, maybe just too lovely and gets boring after a while. Others like "Des Zauberers Traum", "Norderland" or "Horrorgoll" are sounding at least into parts slightly more interesting but only for 1 or 2 spins and quite dated on the other hand. The latter one in particular is clearly the most experimental track on here consisting exclusively of a collage of tape recordings (probably taken from tv/radio) with the addition of some echo effects. "Die Musik vom Ölberg" had been the introduction for a Grobschnitt live show and last one "Sternchen" sounds a bit like an excerpt of "Solar Music". Overall this record (like all of Eroc's solo catalogue) should be considered rather an interesting addition for Grobschnitt fans and seams vastly overrated here IMHO. This one might still be the best of his first three solo albums (the fourth one I don't know yet) but nonetheless I'm hesitating to rate it with 3 stars!
Review by Mellotron Storm
3 stars A pretty good debut from the GROBSCHNITT drummer. This is nothing like the music that GROBSCHNITT plays, in fact it's more in the Electronic-Prog genre with that Krautrock vibe. I must admit that EROC to me is more about his recording studio "The Ranch" and his work in that area than as a musician. I guess that's from mentioning him often in many of my reviews over the years in that capacity.

"Kleine Eva" is the longest track at almost 12 minutes and probably my least favourite too. Spacey sounds pulse as keys join in around 2 minutes then this sound which you would think was a child's keyboard or something also joins in. Loud synths before 5 1/2 minutes that are annoying to say the least. "Des Zauberers Traum" opens with sounds that hum and other electronics.The synths before 2 minutes get annoying after 2 1/2 minutes.

"Toni Moff Mollo" is less than a minute of two people talking in German. "Die Musik Vom Olberg" is somewhat catchy with a beat and synths. Glass breaks to end it and the sound of someone running away. "Norderland" is my favourite and the first song I actually like. Organ floats in with spacey winds. A melody kicks in with guitar. Nice. An interesting track. "Horrorgoll" is pretty much voices and sounds that echo throughout. Not a fan. "Sternchen" is better with guitar melodies. A dead calm before 2 minutes then it builds again.

This is good but when you consider it's 1975 he's a little late to the Krautrock party. I suppose that wouldn't be an issue if I really liked it though.

Review by stefro
3 stars As the drummer, lyricist and co-producer of famed Teutonic prog outfit Grobschnitt, Joachim Ehrig - who is otherwise better known under the self-chosen pseudonym 'Eroc' - has enjoyed a long, colourful and successful career in his native German homeland. Known for their quirky sense of humour, fantastical themes, epic concept albums and highly-skilled musicianship, Grobschnitt were one of the premier German rock acts of the 1970s, especially in the live arena. Although strong domestic sales and deliberately-English lyrics failed to translate into British or American success, throughout Central Europe Grobschnitt's reputation was fearsome and well-earned. The album's 'Grobschnitt', 'Ballermann' and 'Jumbo', as well as a punishing live schedule, had seen the group develop from slightly awkward psychedelic rock origins into a full-blown, Yes-styled, symphonic prog group featuring lush, complex instrumentation, layers of keyboards and synthesizers and suitably striking artwork adorning the gatefold LP vinyl jackets. However, it would be the impressive, space-rock themed double-album 'Ballermann' that would really put Grobschnitt on the(central European) map thanks to the epic, 33-minute long composition 'Solar Music' which took up both sides of the second disc on the original release. With this success behind them, Grobschnitt would temporarily fragment, allowing Eroc to complete work on his long-mooted and eponymously-titled debut solo album. Released in 1975, several months before the group's much-anticipated third album 'Jumbo', 'Eroc 1'(as it has now come to be know thanks to subsequent and similarly-monikered follow-up albums) equally baffled, bemused and excited those who bought it. Obviously influenced by the innovative electronic krautrock groups Cluster, Harmonia, Tangerine Dream and, of course, Kraftwerk, Eroc's genre-defying debut is far-removed from the drummer's Grobschnitt days. Instead of intricate guitar-keyboard interplay and manic comedy 'Eroc' feeds the listener a series of slowly-evolving and carefully-layered electronic compositions that seem to blend the melodic instincts of progressive rock with the experimental nous of Berlin school sonic design. The album has a cool, relaxed and slightly detached vibe, as evidenced on the beautifully-ornate 'Kleine Eva', which crawls slowly and deliberately through twelve minutes of gently-pulsating, small-hour-evincing, electro ambient pop soundscapes in a style not dissimilar from mid-period Klaus Schulze albums such as Picture Music and Mirage. Later tracks, such as the rougher 'Norderland' and the almost celestial 'Sternchen' also tread this electro-psych path, only with an occasional nod-and-wink to Eroc's work with Grobschnitt. Surprisingly, and unlike many other band-members, Eroc has not employed any of his colleagues to help him on the recordings. Instead, the talented drummer has played all the instruments himself, including keyboards, synths and guitars, which may explain the slow pace of much of the material on offer. However, despite this minor critique, Eroc's debut reveals itself to be a truly original - and welcome - stylistic departure. Despite their German heritage, Grobschnitt were never considered a 'krautrock' group. In creating this LP, Eroc has joined the ranks of electronic purveyors who made that dubiously-titled genre so fascinating, and fans of analogue electronica should find much to admire on this refreshing record. STEFAN TURNER, LONDON, 2011
Review by Neu!mann
3 stars His first solo album outside the three-ring circus of GROBSCHNITT saw lead clown Joachim Ehrig (alias Eroc) downplaying his irreverent "Lumpy Gravy" humor in favor of a milder brand of homemade Krautrock, more experimental than the music of his parent band but hardly inaccessible. And for a musician otherwise employed as a drummer there's a conspicuous lack of percussion over most of the album, without so much as a cymbal to be heard over its entire first half.

Be prepared instead to settle into the long, electronic lullaby of "Kleine Eva": twelve sublime minutes of beautifully arranged keyboard variations on a simple, childlike melody. That opening idyll is followed by the more unsettled synthetic reverie conjured by "Des Zauberer's Traum" (The Magician's Dream), and then a brief audio-vérité joke shared with a member of Grobschnitt's road crew and performance troupe.

The flipside of the 1975 LP explored more traditional Krautrock territory (if that isn't an oxymoron) in the Teutonic Rock anthem "Norderland", an obvious album highlight. And the weirder face of the Eroc coin was revealed in "Horrorgoll": an ACHIM REICHEL-like echo effect nightmare built around repeated voice samples and atonal piano accents. The track is longer than it needed to be, but the silver lining is the lovely "Sternchen", bringing the album to its final, graceful resolution.

All worthwhile, in its own modest way. But the 2005 CD re-issue presents a different experience altogether. The copious bonus material, recorded more or less around the same time, is salted throughout the disc instead of lumped together at the end, totally changing the pace and flow of the original album. These aren't really outtakes (the music is too good), but more like a random sampling of unreleased songs from the composer's private stock of basement tapes, built (mostly) around gently strummed guitars, tasteful synths, homeopathic percussion, and the occasional kazoo (of course).

Hardly essential, but classic Eroc. And like the rest of the album so German every chord deserves its own umlaut. Fans of Grobschnitt's vaudeville Prog may find it a surprisingly restrained effort from such an extroverted cutup. But every joker should be allowed a few private moments of creative introspection.

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