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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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The Vision the Sword & The PyreThe Vision the Sword & The Pyre
Import
Artist Station 2017
Audio CD$13.59
$14.82 (used)
VisionaryVisionary
Import
Artist Station 2017
Audio CD$11.98
$12.88 (used)
OceanOcean
Import · Remastered
EMI Import 2004
Audio CD$10.00
$8.99 (used)
DawnDawn
Import · Remastered
EMI International 2004
Audio CD$12.05
The Legacy BoxThe Legacy Box
Multiple Formats · Import
Artist Station 2017
DVD$15.99
$20.27 (used)
Reincarnation On Stage (Live)Reincarnation On Stage (Live)
Import
Artist Station 2014
Audio CD$15.10
$15.14 (used)
ColoursColours
Extra tracks · Import · Remastered
EMI International 2005
Audio CD$9.85
$8.99 (used)
LiveLive
Import · Remastered
EMI Import 2004
Audio CD$7.09
$7.13 (used)
Silent Cries and Mighty EchoesSilent Cries and Mighty Echoes
Extra tracks · Import · Remastered
Imports 2005
Audio CD$7.25
$18.68 (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)

2.86 | 230 ratings
Eloy
1971
3.77 | 375 ratings
Inside
1973
3.72 | 369 ratings
Floating
1974
3.65 | 383 ratings
Power And The Passion
1975
4.04 | 544 ratings
Dawn
1976
4.21 | 926 ratings
Ocean
1977
4.01 | 562 ratings
Silent Cries And Mighty Echoes
1979
3.69 | 393 ratings
Colours
1980
3.99 | 418 ratings
Planets
1981
3.85 | 351 ratings
Time To Turn
1982
2.82 | 202 ratings
Performance
1983
3.13 | 241 ratings
Metromania
1984
1.98 | 80 ratings
Codename Wildgeese (OST)
1984
2.82 | 196 ratings
Ra
1988
2.61 | 163 ratings
Destination
1992
3.52 | 198 ratings
The Tides Return Forever
1994
3.74 | 262 ratings
Ocean 2 - The Answer
1998
3.28 | 236 ratings
Visionary
2009
3.82 | 55 ratings
The Vision the Sword and the Pyre (Part I)
2017

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

4.02 | 149 ratings
Eloy Live
1978
4.33 | 89 ratings
Reincarnation On Stage
2014

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

3.73 | 39 ratings
The Legacy Box
2010
4.15 | 13 ratings
Live Impressions
2013

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

4.04 | 14 ratings
Wings Of Vision
1982
3.06 | 25 ratings
Rarities
1991
3.57 | 57 ratings
Chronicles I
1993
2.30 | 45 ratings
Chronicles II
1994
4.04 | 25 ratings
The Best Of Eloy Vol. 1 The Early Days 1972-1975
1994
5.00 | 1 ratings
Best
1994
3.56 | 14 ratings
The Best Of Eloy Vol. 2 The Prime 1976-1979
1996
2.62 | 14 ratings
Chronicles Vol. 1 & Vol. 2
2000
2.76 | 22 ratings
Timeless Passages - The Very Best Of Eloy
2003
4.85 | 8 ratings
Silent Cries And Mighty Echoes / Colours
2011
3.50 | 4 ratings
Essential
2012
4.73 | 7 ratings
Inside / Floating / Power And The Passion / Dawn
2012

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

2.80 | 5 ratings
Walk Alone
1970
2.13 | 10 ratings
Daybreak / On the road
1973
2.60 | 10 ratings
Wings Of Vision / Sunset
1980
4.00 | 13 ratings
Silhouette / Horizons
1980
2.33 | 6 ratings
Wings Of Vision (Maxi)
1980
3.71 | 7 ratings
Time to turn / Through a somber galaxy
1982
3.75 | 4 ratings
Time To Turn / The Flash
1982
2.89 | 10 ratings
Fools
1983
2.50 | 4 ratings
Ra (Promo Single)
1987
2.29 | 7 ratings
Sensations
1988
2.29 | 8 ratings
Rainbow
1988
2.86 | 7 ratings
Call Of The Wild
1992
2.60 | 5 ratings
Fire And Ice
1992
2.50 | 4 ratings
Generation Of Innocence
1994
3.00 | 6 ratings
Childhood Memories
1995
2.78 | 9 ratings
The Answer
1998
3.13 | 14 ratings
The Challenge
2009

ELOY Reviews


Showing last 10 reviews only
 Silent Cries And Mighty Echoes / Colours by ELOY album cover Boxset/Compilation, 2011
4.85 | 8 ratings

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Silent Cries And Mighty Echoes / Colours
Eloy Psychedelic/Space Rock

Review by AtomicCrimsonRush
Special Collaborator Symphonic Team

5 stars

Eloy's music organically ebbs and flows with an ineffaceable virtuosity on 2 of their greatest triumphs. It is difficult to see where the pinnacle of Eloy's career is located but surely it must have been during the mid 70s with 4 masterpieces in a row being churned out, many of which were visionary concept albums; "Floating" (1974), "Power and the Passion" (1975), "Dawn" (1976) and then they stunned us with "Ocean" (1977). One would be forgiven for thinking that these were hard acts to follow and their glory days may be coming to an end. However Eloy had other ideas and created what many consider to be their all time master work, the amazing "Silent Cries and Mighty Echoes" (1979). Once again it was a massive concept album with some very complex and ingenious passages of music. It is even more stunning as it came in 1979 when prog was beginning to grind to a halt with the upsurgence of new temporary fads of music such as interminable punk and even worse the disco infestation. Nobody, except the very discerning music connoisseur, cared about concept albums and lengthy compositions with time sig changes and virtuoso musicianship. All that was required to get people hyped was a 3 minute song with 3 chords and no singing ability; I present The Sex Pistols. If that was too heavy for you, there was always the booming beat, with orchestra strings, funkadelic bass and manufactured singing; I give you the discoteque scene. As shameful as these musical diversions that lasted a few years were, prog rock had no chance and the synthesizer was about to become the best friend of the 80s, with the rise of new Romanticism and processed artists churned out of a mixing machine in a studio. The artists didn't even need to perform live anymore as lip synching for TV appearances was sufficient and if you couldn't sing, fine as long as you looked pretty and could make girls scream. Again bands like Eloy were doomed. You either jumped on the bandwagon and emulated the next big thing or your career was sunk. One prog band after another sunk without trace to the bottom of the ocean, swallowed up by the craze of the inferior musical landscape of disco and commercialism, and the ones that survived had to transform image and sound or end up also drowned in their own progressive juices. Genesis, Rush, ELP and Yes were victims of the new changes and gained new fans but lost old ones.

Where did Eloy fit into all this? They decided to bite the bullet and produced another concept album with huge progressive delicacies, and the result is one of the best progressive albums of 1979, and indeed one of their triumphs among a plethora of 70s masterpieces. It was to be one of their last crowning achievements, though "Colours" (1980), "Planets" (1981) and "Time to Turn" (1982) proved they still had some excellent musical ideas left in the tank.

"Silent Cries and Mighty Echoes" opens with the ominous drone of a synth, with majestic cathedral organ. The opening of 'Astral Entrance' as the soft guitar chimes in, is reminiscent of Pink Floyd's 'Shine On' intro with the same measured tranquil beauty and atmospherics. It builds with 'Master of Sensation', with a faster cadence and strong vocals by Bornemann. His delivery is quite forced with Hawkwind spacey echoes; "It is real, so unreal, it's the magic sign, Make us rise, makes us kneel on the edge of time, Here dwells the lord of creation, Here comes the master of sensation." Even the lyrics by J'rgen Rosenthal have Hawkwind references but no complaints from me as I love that. The instrumental section is dynamic with trade-offs of synth and lead guitar. As usual the heavy use of Hammond is electrifying. The band are incredible when they are in full flight on these instrumental sections. The lead break is awesome and this is a powerful way to open this album on every level.

After an energetic opening the album moves into a tranquil passage of music with a 15 minute suite of songs under the banner of 'The Apocalypse' in 3 sections.

The first part is 'Silent Cries Divide the Nights' and I am almost in tears at the beauty of the music at 1:58. The lead guitar augments the beauty with spacey echoes over a layer of synth pads and a pulsating bassline. The music organically ebbs and flows with an ineffaceable virtuosity. Bornemann's vocals are transfixing on part 2 "The Vision Burning", as he sings of esoteric and high conceptual thoughts of the astral plain of existence; "The air will be afraid of our mortal frame, Ethereal we are, the air we breathe, The storm that's stirring up all fire, I see, our life and limb will still, Not come to harm at the moment, That's the reason why we still think, Of everything to be alright, But our hidden souls already dwell, In seas of flames, red hot solution."

Next up is "Pilot to Paradise" driven by an undulating bassline by Klaus-Peter Matziol and powerhouse keyboard playing. This is a wonderful track and especially exciting due to some glorious vocals and an exuberant tempo. The musicianship is exceptional particularly the keyboard finesse of Detlev Schmidtchen trading off with the soaring guitars of Bornemann.

Overall, "Silent Cries and Mighty Echoes" is a sensational album, with some of Eloy's best songs of their lengthy career. It is totally killer.

"Colours" is a very good album with a retro sound and some of Eloy's best material. 'Horizons' features the high pitched vocals of guests Edna and Sabine over a quirky time sig driven by keyboards and the hypnotic guitar melodies of Hannes Arkona and Bornemann. 'Illuminations' has familiar Eloy vocals from Frank Bornemann and the strong synth sound of Hannes Folberth. The pace is moderate tempo, and some heavier guitars are heard sounding like Nektar. The riffs are catchy, with terrific guitar work throughout, incredible keyboard solos, and I would say this is a highlight on the album. 'Giant' has a Pink Floyd vibe and some innovative guitars. The keyboard phrases are spacey and it tends to hook into a hypno groove with beatific passages and nice vocals from Bornemann.

'Impressions' has a whimsical feel with beautiful flute sound, keyboards and guitar picking with the vocals taking on a laid back style.

'Child Migration' is a keyboard domination, and the vocals are well executed. I like the way the crunching heavy guitar riff comes in later with an odd time sig. The release of tension into light passages is an outstanding touch, and it drives along with layers of keyboards.

'Gallery' has faster keyboard phrases with an 80s sound but Eloy somehow keep it progressive enough to hold interest.

'Silhouette' is the single and has a Pink Floyd style riff with a rock beat. The vocals are phased and effective. This has a solid melody line and scorching lead guitars.

'Sunset' finishes the album with acoustic vibrations and symphonic synths. The mesmirising beauty of the instrumental is as captivating as the album cover artwork. I would dare to suggest this is one of Eloy's triumphant releases and it certainly caps off the 80s that was devoid of innovation like this for the most part. Eloy managed to capture a modern sound without giving into commercialism and creating an album of progressive virtuosic musicianship.

Overall this 2 album set displays Eloy's virtuoso musicianship and song writing skills. This is a worthy addition to your prog collection and the price is definitely agreeable on this twin album sets.

 Inside / Floating / Power And The Passion / Dawn by ELOY album cover Boxset/Compilation, 2012
4.73 | 7 ratings

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Inside / Floating / Power And The Passion / Dawn
Eloy Psychedelic/Space Rock

Review by AtomicCrimsonRush
Special Collaborator Symphonic Team

5 stars This 4 pack Of Eloy's early material is the ideal starting point for anyone interested in this wonderful prog band. Every album is a classic and definitely worthy of any prog collection. Let's look at each album individually. I stole parts from my own reviews of the albums to do this and it was delightful to revisit them.

Eloy's "Inside" captures the invigorating psychedelic sound of the 70s and it is the band at their most mind blowing in terms of lengthy jamming and trippy musicianship. The opening epic that runs out to 17:20 is a mind tripping psych prog blaster that features some mesmirising musical interludes. There is a lengthy instrumental break that is a freak out of shimmering Hammond, spacey lead guitar and frenetic drumming with a ton of time sig shifts. It is wonderful music to immerse your ears in.

'On The Road' is a fast rocking blaster with tons of hammering Hammond and a full on lead guitar freakout. The vocals are reverbed and strangely distant. The organ phrases are terrific and I absolutely love the psychedelia of explosive organ and guitar, making this one of the heaviest Eloy songs ever.

Overall, "Inside" is a fascinating nostalgic trip back to the psychedelic sound of early prog. Eloy are inventive and progressive throughout this earlier album. It may not be as good as the followup "Floating", but this is an improvement on the debut, and is full of some of the trippiest and heaviest music to ever emerge from the Eloy catalogue.

My obsession with Eloy began with "Floating" and I believe it is the best album from the band. An instant masterpiece to my ears. This is psychedelia drenched space rock at its best. The first track I heard from this album is 'Castle in the Air' and it was enough to draw to me to the entire discography of the band. Admittedly, not everything that Eloy puts their hand to is gold, but on this album they had the Midas Touch and could do no wrong as far as I am concerned. I get chills everytime I hear it.

It begins with the stellar funkadelic psych of 'Floating'. A massive crunching Hammond blazes away along a wandering bassline and punctuated percussive beat. Bornemann's guitar chimes in and we are on our way. The vocals are loud and bombastic in the opening section and then it switches time sig to a very fast tempo before breaking into a pounding drum beat.

'The Light From Deep Darkness' opens with a serene guitar phrase and Frank Bornemann's inimitable vocals. Suddenly a loud staccato blast of organ and guitar with dollops of drums and bass begins to resound. A time sig locks in dominated by power organ and then a wonderful keyboard solo by Manfred Wieczorke. The bass of Luitjen Jansen is effective pulsating out a rhythm and those drum accents of Fritz Randow are compelling. It sounds like vintage Uriah Heep and Deep Purple in places, only very distinct as only Eloy can be.

'Castle In The Air' is my favourite Eloy track and this is due to Bornemann's incredible guitar riffs and the way it locks into some hypnotic rhythms and allows a myriad of keyboard and guitar solos to unleash a barrage of psychedelic space rock paradise.

The track includes spoken narration, a trademark of many Eloy albums, and some dynamic trade offs between organ and guitar. The bassline is astonishing on this and in fact all musicianship is virtuoso so I can never tire of this. An absolute masterpiece song on every level.

Overall, this is one of the greatest albums of 1974 in a strong year for prog. Every track is compelling wonderful virtuoso musicianship and there is never a dull moment. A definitive masterpiece, "Floating" is one of the best albums I have discovered over recent years and my collection would be impoverished without it.

"Power and the Passion" is another concept album for Eloy that surfaced at the peak of prog rock's domination in the mid 70s. The concept is as usual highly based on searching for an answer and travelling to a mystical land or the future to finds the answers, via a drug induced hallucinatory experience. It begins with 'Introduction' that is a cathedral organ instrumental and this flows seamlessly into 'Journey into 1358'. This begins softly and then the tempo speeds up with fast paced organ phrases and Bornemann singing over a driving drum and bass rhythm.

The next movement of this suite of songs is 'Love over Six Centuries' with acoustics and gentle vocals. The track is 10 minutes and flows in a variety of directions; a bassline locks into a groove as a synth solos over. The staccato Hammond blasts at 2:40 are sensational with fuzz guitar riffs. The next part in the journey is 'Mutiny', another lengthy track of 9 minutes, with layers of synth. It builds with marching percussion and wonderful organ phrases along some haunting melodies. The music is powerful, sweeping and emotional, augmented by the lead guitar break. The pace shifts into a fast shuffling rhythm and some impressive keyboards and a jangling guitar. The vocals return to continue the estranged story.

'Thoughts of Home' begins with Clavinet and a gentle vocal expresses that he will delve into magic to find his way home. This leads into the blistering guitar and Hammond crunches of 'The Zany Magician'. A role play of a nasty magic man ensues with an echoed manic delivery; "You'll forget where you've been, Forget what you've seen, You won't feel a thing, you just, Drink it all down, your heart will pound, See you around." So the protagonist is under the spell and we move onto "Back into the Present". The swirling syths and spacey effects represent the journey home, then a bright rock song strikes up.

The concept may come across as convoluted in places, but Eloy make it work somehow such is the conviction of their sprawling vision. It all seems to makes sense and the major source of joy of this album is the way it seamlessly flows from one idea to the next. This is Eloy at their most innovative and it would not be the last time they would venture into high concept as "Dawn" follows, with an even more complex story.

A crash of thunder, rain and storm clouds of orchestra strings opens up the magnificent "Dawn" by Eloy. Bornemann's familiar vocals soon come in and a beautiful acoustic flourish on 'Awakening'. The concept album was a huge drawcard to album listeners in the 70s and Eloy always delivered some of the best conceptual masterworks. The music with lengthy jamming instrumental was always designed for the conceptual link between songs and Eloy delighted listeners with lengthy complex compositions and reflective lyrics.

"Dawn" is a complex album with some huge ideas put to very impressive musical themes. The tracks run together almost seamlessly as one and there are multi movement suites that encompass several songs such as 'Between The Times' in 3 sections with a variety of styles and time signatures, with inventive musical breaks. These moments are definitely highlights and at times the music is uplifting and very emotionally charged such as the beautiful melancholia of 'The Sun Song.' The stirring majestic orchestral score at the end of this track is stunning.

The majesty continues on 'The Dance in Doubt and Fear', with organic keyboards that glide over a strong percussive hook and pulsing bassline. Bornemann narrates the ideas and the music is allowed to flow along on beautiful key pads. The music soars to the stratosphere and is perhaps some of the loveliest musicianship from Eloy.

'LOST!?' in 2 parts is next beginning with 'Introduction', made up of deep chanting and synthlines. The second section is 'The Decision' beginning with cathedral organ in the vein of Sky's 'Toccata'. The currents of guitar lines flow on a river of synthesizer. It slowly ebbs meandering until Hammond and bass crash in. This is mesmirising music and it builds so gradually until Bornemann's vocals return like an old friend. The wall of synth is so effervescent and ethereal, and at the end a howling wind emanates.

'The Midnight-fight/ the Victory of Mental Force', an 8 minute prog feast, begins with a fast vocal delivery and an off beat bass heartbeat. The fast tempo drums are outstanding and later there are powerful string eruptions to augment the atmosphere of a battle in the heavenlies.

'Gliding into Light and Knowledge' opens with weird bird calls and an acoustic layer. The ambience is joined with an accordion sound along a rhythmical meter.

The album ends on a majestic uplifting note as if dawn is closing in and the world is again at peace. The album has been a breathtaking momentous work of innovation.

These early Eloy albums are a stunning achievement; conceptually masterful with some of the most incredible musicianship of the mid 70s when prog was flourishing. The albums stand out as landmarks for Eloy. These are symphonic works of beauty, they are diamond studded jewels in the treasure chest of progressive milestones.

 The Vision the Sword and the Pyre (Part I) by ELOY album cover Studio Album, 2017
3.82 | 55 ratings

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The Vision the Sword and the Pyre (Part I)
Eloy Psychedelic/Space Rock

Review by Basileus

5 stars After more than 25 years of research and hard work, Frank Bornemann finally makes his dream come true with this first half of a two-part rock opera dedicated to Jeanne d'Arc. This album had better be a masterpiece, and it actually is. Frank took his time, and it was worth waiting. Every single minute of the album is a delight of highly skilled musicianship and highly inspired music.

Don't be too intimidated by the word "opera" in "rock opera". There are no singing dialogues. Only a few parts are spoken, cleverly distributed throughout the disc. It is still a rock album, with Frank's unimitable vocals. More than that : it's a standard of what progressive rock is about, full of breaks and different time signatures. The classic Eloy sound is here : lush guitars and synths, this time with a light medieval flavour.

I never wrote a review before this. First, because english is not my native language. Second of all, though there are plenty of well known masterpieces here to talk about, this one is quite unexpected. This is the album every fan wishes his favourite band would come with, after close to 50 years of activity. Eloy are back in their full majesty.

 The Vision the Sword and the Pyre (Part I) by ELOY album cover Studio Album, 2017
3.82 | 55 ratings

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The Vision the Sword and the Pyre (Part I)
Eloy Psychedelic/Space Rock

Review by javajeff

4 stars This is not a typical Eloy release, but does have their signature sound with excellent musicianship and that spacey, atmospheric music. Expect stellar bass lines that highlight some highly original compositions from the band. The Vision the Sword and the Pyre (Part I) is a concept album, and Frank Bonneman calls it a "rock opera on the subject of Jeanne d'Arc." Anke Renner provides some excellent vocals that bring this album to life. I believe it will take several listens to fully appreciate the complexity put into this creation, and it is an excellent addition to an already amazing catalog of albums. I eagerly await part 2 to get the full concept.
 The Vision the Sword and the Pyre (Part I) by ELOY album cover Studio Album, 2017
3.82 | 55 ratings

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The Vision the Sword and the Pyre (Part I)
Eloy Psychedelic/Space Rock

Review by Kingsnake

4 stars The new album of Eloy is something new for the band. This time Frank and co. tell a historical tale (of Jeanne d'Arc) through music. They already explored that territory on Destination (1992) and The Tides Return Forever (1994) where they recorded two songs in memory of her legend.

Frank always wanted to write and record a full concept in her honour and here it is. The aim of the music is different than on other albums. Because Eloy is (was) a spacerock band, most concepts were spacey or mythological. This time the concept is historical, so there's more narratives than we are used to. One can compare this album to War of the Worlds or Jesus Christ Superstar.

The music and production are very good and warm. There's more vocals than we are used to, not lengthy guitar- or synthsolos. In that way Eloy is not repeating itself, wich is a good thing. The only thing that Eloy repeats are some themes, borrowed from the aforementioned Jeane d'Arc-songs. But I don't see (or hear) any harm in doing that.

All songs are midtempo but the band is really tight and dynamic, so all songs really flow. Musically it can be compared to some songs on Ocean II and Visionairy. But it's the same band playing, so it makes sense. Of course the bassparts are really good. Klaus Peter Matziol is one of the best bassplayers in rockmusic. Also the drums are really tight, not all over the place like Jurgen Rosenthal (wich worked in the seventies, but not anymore). There are even more odd timesignatures than we are used to.

This is album that needs to grow before one can really see the treasure of it. So I will play it many many times. I have the feeling that this album and I can be really good friends. It's not as good as Ocean II or their old albums, but much better than Visionairy, so a 4* rating is where I start. <3

 The Vision the Sword and the Pyre (Part I) by ELOY album cover Studio Album, 2017
3.82 | 55 ratings

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The Vision the Sword and the Pyre (Part I)
Eloy Psychedelic/Space Rock

Review by mitarai_panda

5 stars I have just listened to the album, this is my comment. My English is not good, can only be converted into English with google:

I have not yet been under God's glory, and I hope that God will give me, and if I am in it, I hope that God will give me. ----Jeanne d'Arc

[# 01] The Age Of The Hundred Year's War [4:16]

Background of the album. The album focuses on the story of Joan of Arc, the background is the British and French years of war. This release is the first part, the second part is said to be released in the Ming Dynasty, and there will be musical performances (the album itself is advertised as a rock opera, and the wall, tommy for comparison).

【Joan of Arc was originally a French girl in the countryside, and she claimed that at the age of sixteen, she met the angels of the sanctuary, the holy Magali and the holy convents, Of the revelation ", asked her to recapture the then lost by the England occupation of France. Later, she repeated twists and turns, get military power, in 1429, around the settlement of Orléans, became the famous French heroes, after the soldiers repeatedly defeated the England invaders, but also to promote the throne of Charles VII in the same year in July 16 to be crowned. However, Joan of Arc in 1423 in a small conflict in the province of Burgundy captured by the Principality of Burgundy, and soon for the British to buy heavily, by the British authorities under the control of the heresy and the sorcerer sentenced her to fire, On May 30, 1431 in France Rouen in public execution. 20 years after the British army was completely expelled from France, Joan of Arc's old mother to persuade the Pope Calix III to re-trial Joan of Arc case, and finally in 1456 for her vindication. 500 years after being sealed by the Vatican.】

The song was opened with the iconic psychedelic atmosphere of Eloy, followed by a vocals of female voices, accompanied by ferocious drums, followed by the addition of guitars and basses, together depicting a panorama of a century of war.

I was surprised that Bornemann's voice ... perhaps because of the older age, sounded some illusion of dead voice. Well, Closer to home, after the timely addition of the string, the war of the grand and tension portrayed out. The end is ringing the bell, tell you the end of the Overture, positive film began!

Song score: ★ ★ ★ ★ ★

[# 02] Domremy On The 6th January 1412 [1:47]

In the crisp melody, a simple description of the birth of Joan of Arc, piano guitar synthesizer with just right, but the end is the bell, what is the meaning of it? The sound of the soundtrack is great.

Song score: ★ ★ ★ ☆

[# 03] Early Signs ... From A Longed For Miracle [4:13]

It is eloy rare flute playing (this album from time to time there will be flute, a bit like goes on "Colors"), and then ... ... I was not put the wrong album? How to hear the 90's album "Destination" in the epic "Jeanne d'Arc"? Well, it is true that this melody is from that song. Eloy from the beginning of the 1990s there is the intention of making Joan of Arc album, but then the time is not ripe. "Jeanne d'Arc" is a great work, but slightly less heat.

Then the ensemble of the keyboard and synthesizer, "Jeanne d'Arc" melody did not think of it, but to write a new melody, with excellent flute, very idyllic feeling. The This song should be described as Joan of Arc first met miracles.

【Joan of Arc later confirmed that she met the first miracle in 1424. She was said to have met the great angels of St. Mi Er, St. Magali and St. plus the ribs, told her to drive away the England and lead the Crown Prince to Reims for the coronation.】

The final return of the song eloy rock and roll character, full of power bass with hot electric guitar and to force the drums, in an exciting melody after the end.

Song rating: ★ ★ ★ ★

[# 04] Autumn 1428 At Home [0:55]

This is a primer, well, in the rock opera a lot of introduction is very common. And the second first, in the crisp background melody is a narration, and finally sounded the flute of the melody, it is very beautiful.

What did Joan of Arc in 1428?

【At the age of 16 she asked her relatives, Durand Lassois, to take her to nearby Wakulle, where she explained to the local garrison commander Robert de Baudricourt , Hoping to take her to the Crown Prince's location - Xi Nong.】

Song score: ★ ★ ★

[# 05] The Call [5:51]

After so many quotes, the album finally ushered in the first official song! The opening of the eloy is the late standard epic opera singing: charming bass line with Bornemann vigorous (but some lack of change) voice, the lyrics are often stacked like a general gun. After the first out of the field, the wild synthesizer solo began. The second paragraph of the concert is more high-pitched, it is very standard eloy later song.

According to historical records, Joan of Arc asked to go to the Crown Prince's location - Xi Nong, but:

【Bo Chukul just ridiculed her some, but this did not let Joan of Arc to this retreat.】

Because you have not seen the lyrics, so do not know what the song specifically say anything. Especially in the middle of the emergence of a female voice and sound, it seems still in the narrative of Joan of Arc to see the miracles and prophecy, "I have been choosen" what, powerful my Joan of Arc!

Accompanied by a vocal sound of voice is I think eloy most iconic bass, I think the bass and synthesizer is eloy soul, not what guitar what voices. At the end of the narration, the synthesizer set off the final climax.

Song rating: ★ ★ ★ ★ ☆

[# 06] Vaucouleurs [4:35]

【Joan of Arc came to Wakulle again in January of the following year, along with two soldiers who supported her: Jean de Metz and Bertrand de Bertrand Poulegny). In their support, she received a second interview, in the conversation she and said some magical warfare forecast, predicted that the French near Orleans will be defeated in the war of herring.】

The song is similar to the previous song, with a variety of instruments plus Bornemann's singing. But then the introduction of the late eloy epic songs of the biggest features: magnificent and graceful feminine chorus. Reminiscent of Visionary and Ocean 2 The Answer.

After all, is a rock opera, is singing almost after the introduction of the female voice-tones, should be described in Joan of Arc in the experience of the village. And then a more popular instrumental music, and finally to the female chorus off the song.

Joan of Arc's prediction was finally confirmed:

【At the front of the news confirmed Joan of Arc's prophecy, Bo Chukul finally agreed to escort her to Xi Nong.】

Song rating: ★ ★ ★ ★

[# 07] The Ride By Night ... Towards The Predestined Fate [3:29]

【She disguised as a male, through the vast enemy of the Burgundy territory, and finally arrived at the crown prince in Chillon's castle.】

This song is to describe Joan of Arc's night riding, the so-called heroes destined for her destiny.

The beginning of the bass and synthesizer of the gradual, but the bass of the melody sounds very much like OCEAN in a song, I can not remember which is the first, but really like. The song's "first card" is the power of the bass, behind the electric guitar and synthesizer just embellishment. In the latter part of the song, the horseshoe sound was added to the night riding of Joan of Arc. Then the instrument is bright, the atmosphere is bold, but still bass dominated. The last is a section of the wind, it seems that there is a "wind Xiao Xiao Yi water cold" means.

Song rating: ★ ★ ★ ★ ☆

[# 08] Chinon [9:46]

Joan of Arc finally came to the legend:

【In the meeting she gave Charlie a very deep impression, Charlie then directed in Poitiers on Joan of Arc background investigation and theological test to confirm her morality. At this time, Charlie's mother-in-law, Yolande of Aragon, raised funds to launch a expedition to save Orleans. Joan of Arc asked to take part in the expedition and put on the equipment of the knight, because she did not have her own money, her armor, horse, sword, flag and followers are donated by others.】

Is still the heavy bass leading song start, plus the heavy piano heavy percussion, Bornemann behind the heavy to tell what, then chorus to join, synthesizer and bass again return, and add a small series of strings Lele set off. More than two minutes when the flute once again played, with a strong sense of vicissitudes of history, melodious sounds, up to a minute. This is the highlight of the song.

After the intense drums, the song into the middle, we ushered in the description of male voice and sound, about Joan of Arc in the experience of the Greek, with the Crown Prince Charles dialogue, as well as the French royal family on Joan of Arc, etc., here Arthur's expedition should not have been written yet. Accompanied by a narrative is the psychedelic atmosphere of the keyboard, of course, powerful bass has been in. At the end of the description, the flute sounded again, accompanied by a rather magnificent melody, which seemed to suggest that Joan of Arc had won Charlie's trust.

The third part of the song is restored calm, crisp melody behind the female voice sound (the words, I think there are some more narration, may affect some of the music, but after all, is the musical ah, and to tell Joan of Arc) "God said me to do this" what, still said Joan of Arc's illusion. Followed by a male voice-over voice, which seems to represent Charlie's decision. Has been playing behind the flute is a bright spot.

【The historian Stephen W. Richey has given the explanation of why Joan of Arc has been appointed: "In the battlefield year after year, the shameful failure of the French government in the army and the people's leadership has been low morale and ruined. When Charlie's prince agreed to lead his army and prepare for the war by Joan of Arc, he had probably tried all the formal and rational tactics, but failed, and only one regime that had reached the last minute of survival , Will be in despair to believe that a self - proclaimed by God 's instructions of the rural illiterate girl, let her command the country' s army.】

Then some unexpectedly joined the male chorus, pay attention to this is not a female voice. Voice strong and powerful, magnificent. This is not the same as the female chorus is not the same feeling, seems to have coping with Joan of Arc men: Joan of Arc since leaving home until she was captured and mistakenly refused to abandon the book before wearing men's clothing. The last one is: and god will give us our victory.

As the album's longest song, the song is clearly divided into three paragraphs, arranged in order, instrumental turns turns into battle is also a lot of highlights, especially flute and bass. Just may be too much voice tone, affecting the mood of the listener it

Song score: ★ ★ ★ ★ ★

[# 09] The Prophecy [4:39]

Porny psychedelic synthesizer with high-pitched smart female voice sounded, followed by a musical instrument Biao, Bornemann vigorous but not wide range of human voice, accompanied by even some rap feeling the lyrics (here can refer to OCEAN Decay of Logos a song, rich taste of English, it sounds very interesting). The middle is added a string of music. The most surprising is the mid-back chorus is neither female nor male, this time into a child's voice, a little pf another brick taste, but this time the child sounds very holy, naive, seems still in the description of Joan of Arc The fate of the gift of heaven. Finally, a beautiful synthesizer melody.

Song rating: ★ ★ ★ ★

[# 10] The Sword [5:54]

Is still bass plus Bornemann voice began, but this arrangement some lack of change, listen to some boring.

【Joan of Arc asked to take part in the expedition and put on the equipment of the knight, because she did not have her own money, her armor, horse, sword, flag and followers are donated by others.】

But it is exciting that the song in the plain opening, immediately ushered in a climax, it is directly cited from the 94 years of the album The Tides Return Forever in the company's Angels a climax part. The song is the same as the Jeanne d'Arc, the story of Joan of Arc. Bornemann has been thinking about this opera for more than twenty years.

This male chorus is magnificent, I do not know whether to modify the lyrics, but with the original difference is to join the flute accompaniment, making the melody more beautiful.

In the third climax before singing, the song into a calm and quiet tone, driven by the string behind, for the last climax bedding. This peaceful atmosphere is touching, with the climax of the flute complement each other.

Song rating: ★ ★ ★ ★ ☆

[# 11] Orleans [4:25]

【Joan of Arc came to the battlefield on April 29, 1429. Joan of Arc, who advocated direct attack on the British, she put in every small battle and was at the forefront of the battle and took her clear banner The Stephen W. Richey argues: "She continues to lead the army in a series of incredible victories, reversing the whole war situation." In either case, historians agree that the French army under her leadership Can create a very extraordinary victory.】

Joan of Arc started her combat, the first war is Orleans.

The song begins with a heavy drum, crisp guitar joins and remains in Bornemann's calm singing. The first half of the song changed little, after the latter part of the female voice to join the chorus, has been singing: "Orlean, Orlean, Orlean ... ..." can make people feel the fierce battlefield situation, but:

【Witnesses claim that she often makes a wise decision on the battlefield, but the soldiers and generals tend to see her victory as a mysterious power of God.】

This chorus is somewhat divine and seems to be the sign of Joan of Arc. The bass line in the song is a bright spot.

Song rating: ★ ★ ★ ★

[# 12] Les Tourelles [7:23]

【After a few fortresses, the British began to abandon other wooden defense buildings and concentrate on the remaining forces to defend a fortress of the Orleans joint bridge, the les Tourelles. On May 7, the French army began to attack Leituer, Joan of Arc in the war was an arrow in the shoulders and soldiers were lifted off the front, but she quickly pulled out the arrow, wounded to return to the battlefield Leading the final offensive.】

This is the second song in the album, although the opening is still bass, drums, but the rhythm of the song to speed up, with Bornemann rapid singing, and the girl seems to lament the chorus, I heard a "falling to the "Of course, is the description of the battlefield of the fierce and tragic.

After the fiery opening of the song, the song into the psychedelic moment, the keyboard a vivid solo, behind the bass bass line is very charming, and then the string into the song to a part of the lyrical. Bornemann gentle and gracious description, although do not know what to sing, but the feeling is very touching atmosphere, should be in the narrative of Joan of Arc's injury. Lyrical final Bornemann raised the volume, the voice behind the voice is also rally, followed by a sonorous and powerful string, the last Bornemann Smart guitar with bass sounded, repeating the charming melody. The song finally repeats the opening of the female voice seems to lament the chorus, with Bornemann haste singing, seems to symbolize Joan of Arc and put into the battle, and get the final victory.

Song rating: ★ ★ ★ ★

[# 13] Why? [5:11]

In the blink of an eye, we came to the end of this part of Joan of Arc.

Calm opening, coupled with Bornemann chanting like singing, a little reminiscent of the band on an album's tail song "Thoughts".

This song is for God to ask "why"? This also need to get the lyrics to see, but the calm and sad atmosphere to create, it seems that Bornemann in the sigh of the terrible war, asked why innocent people to experience this century of catastrophe.

Joan of Arc had made many victories in war, but she:

【Joan of Arc forbade the killing of prisoners of war, and she even told a soldier who would be dead (when the man thought that the person who had not been told would go to hell).】

Half of the time sounded a shocking female solo, no lyrics, but in the helpless groans, seems to apply my idea. This song is very appealing, somewhat similar to the pf great gig in the sky. May be in the completion and control of the pf version as better, but the female is very explosive, the last minute of the storm soared without control, straight into the sky, even if there is a broken sound do not care, this slovenly wild just to People brought full shock!

Song score: ★ ★ ★ ★ ★

"The Vision, the Sword and the Pyre (Part I)" The first part ends.

The second part should be released next year, but do not expect too much hope that the spring can be heard, the first part of the notice earlier this year will be released, but dragged on for six months. But this also take into account the health of Bornemann Father, after all, was born in 1945, now 72 years old!

The second part should describe the capture and execution of Prince Charles and Joan of Arc, the first part of which is about Vision and Sword, then the second part is Sword and Pyre.

At first listen to the feeling that the concept of the album is complete, the music is also very hard, the lyrics I have to get the album and then under review, really worthy of the rock opera first name! But also because it is a musical, feeling the voice part of the voice too much, some damage to music, and some repeat self, often can see the shadow of the past. And does not seem to have a particularly powerful core music, hope that the second part can be more to force. I need to listen more times.

Album Rating: ★ ★ ★ ★ ☆

 The Vision the Sword and the Pyre (Part I) by ELOY album cover Studio Album, 2017
3.82 | 55 ratings

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The Vision the Sword and the Pyre (Part I)
Eloy Psychedelic/Space Rock

Review by proghaven

1 stars To me, they are one of the greatest bands of all times, and position two (below Genesis, above Wishbone Ash and Demon) in my personal Top 4. That's why I'm so sad to admit that in 2017 they made their worst work ever. Pale, powerless, insipid, linear. No inspiration at all. A bunch of self-repetitions. Looks like Bornemann has had enough of composing music, playing guitar and singing. And sounds like Bornemann has no creative ideas at all anymore. The only moment that may be really considered THE music is the short fragment of The Sword, between 4'24" and 4'50" - but it's literally killed by an inappropriate self-quotation: the refrain of the song is copied and pasted from Company Of Angels (The Tides Return Forever, 1994). What a catastrophe if this all means that Eloy is no more... But let's wait for part two. Who knows...
 Reincarnation On Stage by ELOY album cover Live, 2014
4.33 | 89 ratings

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Reincarnation On Stage
Eloy Psychedelic/Space Rock

Review by javajeff

4 stars It would be hard to find a better live album from anyone. With a new album on route, this is a great time to catch up on Eloy with a terrific sound quality live album called Reincarnation On Stage. The performances are fantastic with a perfect sampling of their catalog including the underrated Visionary album that produced one of their best songs ever in Age of Insanity. Poseidon's Creation from Ocean never sounded better in a raw live and explosive rendition. If you are new to Eloy, this can be a great place to start to get a sample of their albums. If you are like me, you will definitely want to collect their albums as well. I am thoroughly enjoying this live album.
 Colours by ELOY album cover Studio Album, 1980
3.69 | 393 ratings

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Colours
Eloy Psychedelic/Space Rock

Review by fenman

4 stars This is where I began with Eloy, finding a second hand vinyl in a record shop in Gilligate, York. I'd never heard of them before, but took a chance. It remains one of my favourite Eloy albums and, for anyone new to the band, the one I'd recommend to start with. Much more focussed than their space rock beginnings, less techno than some of their 1980's work. Their influences were becoming less obvious and the sound more their own. Though I enjoy their earlier albums, I find some of those tracks a bit too long and the lyrics less mature than here. The concept pair of albums, Planets and Time To Turn, followed Colours and follow the course found in this work. All the EMI albums were reissued (with bonus tracks) a few years ago in what was one of the most successful remastering campaigns ever - they sound glorious.
 Silent Cries And Mighty Echoes by ELOY album cover Studio Album, 1979
4.01 | 562 ratings

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Silent Cries And Mighty Echoes
Eloy Psychedelic/Space Rock

Review by Seyo
Special Collaborator Honorary Collaborator

3 stars Oh my, oh my... Just when I finished praising "Ocean" in my previous review here, I stumbled upon their next album "Silent Cries and Mighty Echoes". There are two things about this album that stand for me the most.

First, the sound and style is almost the same as on the previous "Ocean". The formula was successful, so why not repeat it? Fair enough; we should not blame ELOY for something that many, if not the majority of, rock bands in this period did on a regular basis.

Second, as if I could hear Bornemann and his company saying: "Hmmm, they accuse us of imitating Pink Floyd too much in the past!? OK, then let's give them those mighty Floyds in abundance on this new album!" And they did just that. The seventh ELOY album is saturated with Floydian references from almost all their albums between "Atom Heart Mother" and "Animals", and this is especially evident on side A. Only "Master of Sensation" track stands out a bit, and it is really one of better and signature compositions by ELOY.

B side tries to offer more of their own true spirit, but the problem is that we have heard all these ideas in a better form on "Ocean" and even "Dawn". The closing "Mighty Echoes" tries, after several more Floydesque noodlings, to finish the album on a grand note and it succeeds in it only partially. So, if this is supposed to belong to something called "progressive rock", then I have an issue with that. There is no much progress going here; and given that ELOY looks often more to the past (both their own and of other famous Brit rock acts like PF) than to the present or future, I can only call this "regressive rock", if that makes any sense.

But, my misgivings notwithstanding, I have to emphasise again that this album is very nicely performed and produced and the band deserves a hats off for that. It is listenable and catchy music, so it kind of makes my guilty pleasure. Still, I cannot say that this album makes an "excellent addition" to a truly "progressive rock" collection.

Thanks to ProgLucky for the artist addition.

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