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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 | 261 ratings
Eloy
1971
3.78 | 446 ratings
Inside
1973
3.76 | 439 ratings
Floating
1974
3.68 | 446 ratings
Power And The Passion
1975
4.05 | 638 ratings
Dawn
1976
4.20 | 1111 ratings
Ocean
1977
4.05 | 669 ratings
Silent Cries and Mighty Echoes
1979
3.69 | 448 ratings
Colours
1980
4.00 | 474 ratings
Planets
1981
3.85 | 400 ratings
Time To Turn
1982
2.86 | 231 ratings
Performance
1983
3.17 | 280 ratings
Metromania
1984
1.97 | 83 ratings
Codename Wildgeese (OST)
1984
2.79 | 227 ratings
Ra
1988
2.62 | 187 ratings
Destination
1992
3.52 | 230 ratings
The Tides Return Forever
1994
3.75 | 302 ratings
Ocean 2 - The Answer
1998
3.30 | 261 ratings
Visionary
2009
3.33 | 122 ratings
The Vision, The Sword And The Pyre - Part I
2017
2.81 | 51 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 | 164 ratings
Eloy Live
1978
4.30 | 105 ratings
Reincarnation On Stage
2014

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

3.76 | 44 ratings
The Legacy Box
2010
3.88 | 17 ratings
Live Impressions
2013

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

4.06 | 15 ratings
Wings Of Vision
1982
3.11 | 31 ratings
Rarities
1991
3.58 | 63 ratings
Chronicles I
1993
2.38 | 51 ratings
Chronicles II
1994
4.04 | 28 ratings
The Best Of Eloy Vol. 1 The Early Days 1972-1975
1994
5.00 | 2 ratings
Best
1994
3.55 | 17 ratings
The Best Of Eloy Vol. 2 The Prime 1976-1979
1996
2.70 | 16 ratings
Chronicles Vol. 1 & Vol. 2
2000
2.76 | 22 ratings
Timeless Passages - The Very Best of Eloy
2003
4.84 | 12 ratings
Silent Cries And Mighty Echoes / Colours
2011
3.50 | 4 ratings
Essential
2012
4.70 | 11 ratings
Inside / Floating / Power And The Passion / Dawn
2012
4.80 | 5 ratings
The Classic Years Trilogy - Box
2019
0.00 | 0 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
 Ocean by ELOY album cover Studio Album, 1977
4.20 | 1111 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!
 Colours by ELOY album cover Studio Album, 1980
3.69 | 448 ratings

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Colours
Eloy Psychedelic/Space Rock

Review by Tarcisio Moura
Prog Reviewer

3 stars A transitional album of sorts.It was to be expect, though. It was the early 80磗 and the ever changing tides of musical taste were putting pressure: the days of long compositions and elaborated arrangements were gone by then. And so was the fine line up that made some of Eloys best records ever. Drummer Jurgen Rosenthal and keyboardist Detlev Schmidtchen were gone, only bassist Klaus-Peter Matziol remaining. They asked guitarist Hannes Arkona tojoin and also brought english born drummer Jim McGillivray to replace Rosenthal both as a musician and as lyricist for the new songs.

Colours is a good album, and I think, considering the pressures of the moment (no to count the recording company), it is even pretty bold, being doubtless a progressive album, although the tunes are shorter and simpler than before, with a nod or two to new influences like The Alan parsons Project. It is not as powerful as a dedicated fan at the perod should expect, but I think it was quite good for the time, since the group remained faithful to their style, only eliminating some excesses (as it was then labelled anything progressive). The two guitar front gave a more rocking sound and the keyboards are definitely less prominent here, even though they are still very strong. They even included an (uncredited) flute solo on Impressions, something definitely not cool for 1980. I really like Child Migration, which is the best track here, but none is bad. In fact I found I liked Colours a lot, and the stuff has aged well after all this time, although it is slightly inferior to the ones that preceded it and also to the others that followed. This line up would rise to rival the "classic" one and would produce some of Eloys best in the form of Planets and Time To Turn.

Rating: 3,5 stars.

 Silent Cries and Mighty Echoes by ELOY album cover Studio Album, 1979
4.05 | 669 ratings

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Silent Cries and Mighty Echoes
Eloy Psychedelic/Space Rock

Review by Tarcisio Moura
Prog Reviewer

4 stars It is only ironic that german prog rock band Eloy reached its peak during the worst times for progressive music in general. They had released their magnum opus Ocean in 1977 and followed with Silent Cries And Mighty Echoes two years later. Although 1979 was probably the most horrible year for prog music ever, Eloy simply chose to ignore the current fashions and stuck with their guns. I really wish other great groups did the same.

While maintaining the same line up as on the previous two albums, Silent Cries... is quite different in sound, being a lot more laid back and Pink Floyd-ish than ever. Also the first real extensive use of synthesizers on this work by keyboards man Detlev Schmidtchen (instead of the previous heavy doses of the Hammond organ) changed the overall musical landscape a lot, making it almost a ambient/electronic experiment. The result is really nice, although the Pink Floyd influence is sometimes a little overwhelming, the group writing their very own Great Gig In The Sky rip off on The Vision Burning. The opener Astral Entrance is another slice of Floyd磗, this time the famous intro for Shine On You Crazy Diamond. Still, it works. I really love this album, it flows smoothly and it磗 a great soundtrack when you want to listen to something trippy. I know it will not be everyone磗 cup of tea, it may lack a real strong track to stand out, but as a whole it is an excellent effort.

As usual the musicianship is fantastic, I really dig Klaus-Peter Matziol bass lines, so creative and fluid. Frank Bornemann guitar playing is also one of his best, for there are more guitar solos here than most Eloy previous (and latter) works. J黵gen Rosenthal drumming is very good and, as usual, he provided all the lyrics, giving the band a truly good and deep theme that the band needed so much in the early days (he would be of special usefulness on The Power And The Passion, but that磗 another story). The production is very good for the time, my CD copy sounding very crisp and clear.

Conclusion: an excellent work for this classic band. Maybe not as powerful as Ocean or Planets, but still very strong and inspired. And, considering the time it was released, this is far more than we could expect from most prog acts of the period. 4 strong stars.

 The Vision, The Sword and The Pyre - Part II by ELOY album cover Studio Album, 2019
2.81 | 51 ratings

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The Vision, The Sword and The Pyre - Part II
Eloy Psychedelic/Space Rock

Review by kenethlevine
Special Collaborator Prog-Folk Team

2 stars Through the ravages of time, a lengthy creative funk, and a blinding obsession with one specific historical figure, Frank Bornemann has engineered himself into a sonic straitjacket so tight that it would make a first generation MRI machine seem like an agoraphobic nightmare by comparison. One can only hope he has well and truly gotten Jeanne D'Arc out of his system at this point, as I cannot bear any more tedious narratives, vocals apparently meant to simulate Siri without the emotion, and numbing linearity with nary a teaser of a melody or creative shift. I hope it was cathartic for Frank at least because it leaves me hopelessly congested and rushing for my copy of "Colours".

Remarkably, Part II actually marks a slight improvement over its predecessor, as ELOY appear more comfortable moving within this highly restricted frame. Sure, we would love for "Between Hope, Doubts, Fear and Uncertainty" to do more than start like a classic ELOY song, but yes it's a start. Ditto for "Patay" and "Joy", which both could be outtakes from "Silent Cries..", if not for the cramped vocal range that neuters any hope for a new ELOY "classic" at this late date. This Achilles' heel permeates virtually every track, that fleeting nostalgic shiver banished all too soon once the band settles in to support Frank's stilted expositions. It's therefore not surprising that "Reims" projects the best of what Part II can offer, dominated by a choir from Hannover that offers a respite from the smothering monotony. So, the song that sounds least like ELOY. Sad.

I have struggled to assess whether this ambitious project might have worked better as a documentary, feature film, multimedia performance, or some other setting hitherto unexplored, but it's dominated too much by Frank Bornemann's voice, which I loved in its prime but can no longer endorse. Therefore "The Vision the Sword and the Pyre" lives and dies by Frank's ability to sing his devotion to the epic. Unfortunately, his voice has absconded and failed his heroine's legacy.

 The Vision, The Sword and The Pyre - Part II by ELOY album cover Studio Album, 2019
2.81 | 51 ratings

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The Vision, The Sword and The Pyre - Part II
Eloy Psychedelic/Space Rock

Review by Kingsnake

1 stars This is an awful, awful, awful, awful, awful album. Even worse than their last.

Frank is getting worse as a singer, and that's all that he does on this album. The album is just short songs with terrible fadeouts and absolutely no traces of symphonic sounds or spacey rock.

The songs are boring, and really bad. The only good thing about this album is the production. Frank should engineer and mix other bands and stop making music as Eloy.

The legacy of Eloy is tainted by this release and the release before it. Avoid listening to this album and stick with their symphonic spacerock-albums.

 Silent Cries and Mighty Echoes by ELOY album cover Studio Album, 1979
4.05 | 669 ratings

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Silent Cries and Mighty Echoes
Eloy Psychedelic/Space Rock

Review by Trevere

4 stars The ending of the '70s was admittedly not very kind to progressive rock. With the exception of few albums such as Rush's Hemispheres, Pink Floyd's The Wall and Steve Hackett's Spectral Mornings, the scene had lost its initial levels of creativity, enthusiasm and innovation. Old-school psychedelia was giving its place to the synthesizers and those who couldn't embrace the change, as in real life, perished.

Despite the above, one band that found its form during that period was Eloy. Releasing their strongest material from 1976 until the end of the decade, Eloy combined the sound of Pink Floyd with a few elements that characterized their country of origin, Germany. The outcome was a highly atmospheric form of progressive/space rock. If the word space brings Hawkwind to your mind, Eloy will probably surprise you as they're not as energetic as the Brit pioneers even though arguably equally cosmic; if Hawkwind makes you feel like moving in space similarly to a meteor or a comet, Eloy feels like a cloud of dust particles floating peacefully.

Silent Cries And Mighty Echoes followed the band's magnum opus and at first glance shares a few similarities with its predecessor and the previous material from the band (with the exception of Dawn), in that it comprises of a low number of long compositions. However, it is less dark and epic than Ocean as the feeling that prevails here is that of melancholy. From the very first notes of opener "Astral Entrance", the listener can feel the resemblance to Floyd's "Shine On You Crazy Diamond" and even though for some this is a drawback, it creates a sense of familiarity. After the first three minutes of the song, Eloy depart on a journey of their own with emphasis on creating a dronish ambiance. The selling point of the album is definitely the use of keys in terms of sounds, melodies and eventually creating a very compelling atmosphere. Talking about keys, one of their most brilliant uses can be found on album highlight "The Apocalypse". A suite, extending for almost 15 minutes with an incredible mid-section that features choral and female vocals and evokes images of flying over the ocean at dawn, or floating in space.

The guitar work of Frank Bornemann with timely leads and fitting solos flies regularly under the radar whereas the exotic nature of his voice contributes to the trippy nature of the album. His German origin is very evident, with an accent that brings to mind Klaus Meine during the early days of Scorpions, while his vocals are a blend of reciting and singing. At moments, the similarity to Pink Floyd or a less commercial version of The Alan Parsons Project's ambient moments is glaring but the heavy use of synths along with the distinctive vocals separate Eloy from the said bands. It's also worth to be noted that even though the album begins with two lengthy suites, the emphasis is on songwriting rather than indulgence so the music doesn't become tiresome. Probably for that reason, the band placed a more energetic song in the middle of the album; "Pilot to Paradise" with its pulsating rhythm and grandiose finish with synth and guitar is a refreshing change of pace before Eloy go into semi-Wish You Were Here mode again. The start of it is rather unspectacular though, as "De Labore Solis" never quite picks up which results in a relaxing yet quite flat listen. Album closer "Mighty Echoes" with an opening key melody that would fit in nicely in a dungeon synth record and a riff that suspiciously or maybe intentionally brings to mind that on the first half of Floyd's "Echoes", is a very fitting end to an album that might not impress with its innovation but certainly draws the listener with its undeniable atmosphere.

Lastly, the band's similarity to Pink Floyd has always been the elephant in the room, so whether one enjoys Eloy also depends on if s/he can accept that. However, Silent Cries And Mighty Echoes with its calm and introspective nature is still essential Eloy or even space rock just for its brilliant use of keys, the soundscapes they create and imagery they can evoke.

 Ocean by ELOY album cover Studio Album, 1977
4.20 | 1111 ratings

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Ocean
Eloy Psychedelic/Space Rock

Review by Trevere

4 stars As the ambitions and instrumental scope of rock musicians increased throughout the late '60s and early 1970s, an inclination towards bombastic songwriting and "pretentious" concept albums was becoming more obvious. Progressive and krautrock groups, especially those hailing from Europe, were the most appropriate vehicles for such things, and the results were both cringe-worthy and magnificent. Some groups obviously couldn't match ambition with decent songwriting, (see: Emerson, Lake, and Palmer) and eventually gave the lesser-known, and generally better, musicians a bad reputation.

Eloy's Ocean, with one of the most recognizable gatefold covers of the decade, is a good representation of the latter. Though their early albums were standard slabs of progressive rock, Eloy's songwriting capabilities grew with each lineup change and album. To many (including myself), Ocean is the group's apex; here they seamlessly shift between esoteric spoken word, watery ambience, and choirs of synthesizers, recanting the rise and fall of Atlantis. You really don't need to hear more about the story than that.

Nearly five minutes pass before Frank Bornemann's accented voice announces the creation of Poseidon, speak-singing "When the mighty sons of the spheres beyond / Distributed the elements of earth / They laid down the foundation-stone / Of highest spiritual birth." Ending with choral sighs, "Poseidon's Creation" segues into "Incarnation of the Logos," which begins with the slow thump of bass drum and hovering, ominous synthesizer chords. Eventually the band launch into what can only be described as science fiction rock; the main keyboard melody wouldn't be out of place in an episode of the Twilight Zone.

If you're just starving for an echoing monologue, than you won't be disappointed with "Atlantis' Agony at June 5th - 8498, 13 P.M. Gregorian Earthtime." Over half of the song consists of spoken word and dark ambience, before Eloy launch into more spacey progressive rock. Cascading drum rolls, laser-ish guitar, and ever-present soundscapes close Ocean on a modest note. Maybe that's what make's Ocean so enjoyable; despite containing themes and ideas that most bands of the era would butcher, Eloy were able to make a flamboyant album that is accessible and worthy of repeated listening.

 Floating by ELOY album cover Studio Album, 1974
3.76 | 439 ratings

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Floating
Eloy Psychedelic/Space Rock

Review by steelyhead

4 stars For some reason I have never listened to this album before, I never had It back in time and was in love with their other productions but, I found It and gave it a try. This is an excellent addition to my prog collection, the band is still searching but all the elements are there if You love Eloy: funny English words, good guitar once in a while and the keys majestic all over the album. The Light from Deep Darkness is an epic journey worth of your time, anytime. So this is one of the albums I will keep spinning all year long for old times sake.
 Silent Cries and Mighty Echoes by ELOY album cover Studio Album, 1979
4.05 | 669 ratings

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Silent Cries and Mighty Echoes
Eloy Psychedelic/Space Rock

Review by mariorockprog

4 stars 4.25: The eight album by Eloy, it was released in 1979. After hearing completely Ocean, I was exciting to know more material of this band, so I decided to take the next best reviewed. This album continues to have the style of the previous masterpiece, however it is not as good as that previous one. The lyrics mainly talks about the origin and purpose of mankind, they are well done and presented, although the way they are sung is not the best. Musically, it mainly contains really good synth and keyboard passages, in fact at some point they remind me to the floydian music, a lot of space rock and some heavy rock is presented, although he last one is less frequent that in the previous one. I considered it a good addition to any prog list, it has really good moments, and keep you entertained, but it is not a must to have.
 Ocean by ELOY album cover Studio Album, 1977
4.20 | 1111 ratings

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Ocean
Eloy Psychedelic/Space Rock

Review by mariorockprog

5 stars 4.75 The sixth album by the german band Eloy, the most critical acclaimed here in the community. I have to say that even I already had heard some songs of this band, and considered them really good, I never got into the albums. It is nice to hear a really good space rock album, it is difficult for me to find something like that, the only ones that have made that are obviously Pink Floyd, and Nektar, and some krautrock bands. but Eloy is now beside them. THis album talks about creation of mankind, the genesis, some history of Greek gods and a devastation that human suffered in Atlantis, as I understood. The vocals are not the best, but I have not complaints. Musically it is very good, mainly the first part with the keyboard passages, the second part although is good it can feel repetitive, from this side I prefer the final track, Atlantis Agony. Finally, I have to say that this is a masterpiece of space rock and every prog collector must to have it.
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