SILENT CRIES AND MIGHTY ECHOES

"Silent Cries And Mighty Echoes," the seventh album by the German prog band Eloy, dates back to 1979. At first glance, one might be tempted to categorize it with the other mediocre releases of that year based on its release date alone. How wrong could one be?

"Silent Cries And Mighty Echoes" is a remarkable album in many aspects, with the fact that the classic lineup is present being enough to make a statement. Once again, we hear the boundless interaction of singer/guitarist Frank Bornemann, keyboardist Detlev Schmidtchen, bassist Klaus-Peter Matziol, and drummer Jürgen Rosenthal. The result is five lush prog pieces that, in all their complexity, make room for spacey atmospheres, profound instrumentations, and thunderous dynamic applications. Eloy leaves no moment untouched and is always present.

Often, the accent with which Bornemann sings is a subject of discussion. As a staunch Eloy enthusiast, I find his accent to be of added value. The band is also often accused of Pink Floyd-like influences. Well, who isn't? Is that a problem?

The album opens with the dyad Astral Entrance/Master Of Sensation, with the first three minutes being a true Shine On You Crazy Diamond oasis with a similar guitar melody and those hanging minor chord keyboard progressions. As Master Of Sensation kicks in, you get six minutes of Eloy at its best. The rhythm flows smoothly with an infectious guitar riff. Twice, there's an instrumental passage of the caliber that Eloy has become great with. Keyboardist Schmidtchen makes himself heard with a heavenly solo on the ARP Pro-Soloist. Further into the song, Bornemann showcases his skills as a guitarist. This solo is preceded by a tasty drum break over the rototoms. In the epic The Apocalypse, Eloy takes a quarter of an hour to slightly ease off and focus more on atmosphere. The four are masters at that. Particularly noteworthy is the intermediate part The Vision-Burning, where guest vocalist Brigitte Witt's wordless singing creates a mysterious ambiance. Additionally, the whole song is filled with tasty organ and guitar parts, naturally framed by gorgeous basslines and dragging drums. It's as if it has never been different, yet "Silent Cries And Mighty Echoes" is a unique album.

Even on the B-side, the band doesn't fail to make a significant contribution. In three songs, Eloy increases the overall variation and once again underscores their craftsmanship. Pilot To Paradise is a fairly catchy number where the way the parts interlock and complement each other is ingenious. De Labore Solis also exhibits that compositional refinement. In this track, the drums play a minimal role while the sparkling guitar arpeggios take center stage in this tumultuous number. Lastly, the closer Mighty Echoes. Even in this track, the band brings dragging and intense passages to infinity.

The numerous albums of Eloy have held me in their grip for years, with "Silent Cries And Mighty Echoes" leading the pack. This masterpiece ranks high on my list of favorites, and the band, led by Frank Bornemann, has been decorated by me with kilos of gold: master of sensation.

Orginally posted on www.progenrock.com