ZERO GRAVITY

This long-time Eloy keyboardist has shown up on my radar recently and I have been so impressed, that I got the entire catalogue within days of hearing this release. Back in the glorious 70s, there were diverging yet also converging German bands that really jumped heavily on the electronic bandwagon with artists such as Tangerine Dream, Kraftwerk, and Eloy (as well as their numerous offshoots), incorporating the latest technological marvels that where being pumped out globally (Moog, Oberheim, Mellotron, ARP). These craftsmen are still around today and continuing to create new sonic realms but nevertheless firmly addicted to their vintage instruments.

Detlev left Eloy quite a while ago and went out on his own, in relative anonymity, a situation that needs to be remedied immediately, to say the least. What really appealed to me was how he has incorporated the classic robotic techniques of Ralf Hutter and Florian Schneider (the Dusseldorf gents behind Autobahn, Trans Europe Express, the Man Machine and Computer Love) with the more classical prog effusions (read: guitar centric) espoused by the likes of Frank Bornemann, Manny Gottsching and Edgar Froese. This emulsion of styles offers the luxury of maintaining all those sequenced mechanical sounds and adding dashes of seductive electric guitar melodies to heighten the flow, perhaps making it all more pleasant to the ear and less experimental in nature, whilst still remaining foundationally cosmic.

It's pretty much a one man show, as Detlev handles all the instruments as well as the recording and the mixing technology to do his own thing, his way. The 8 minute + opener "Open Sesame" seeks to reveal an opaque gateway that leads into the outermost realms of space, settling on a glorious elliptical synthesized loop on which to build multiple layers of interlocking melody, and introducing scorching guitar bursts to amplify the radiance. Utterly smooth and restrained, as if time knew no haste, the main theme sounds extremely familiar in its simplicity (à la Jean-Michel Jarre), yet still advocating detailed distinctions and variety within the groove. Extremely pleasant take- off! The solemn outline to "Pray for Preacher" eventually blooms into a pulsating rhythmic dance, sequencers ablaze, electronic drums establishing the pace for the mighty sermon to come. Insistent patterns of intertwined synth rivulets, an underlying organ theme appears as the pace quickens into a near rush, a supple yet temporary meander for a brief prayer before final 'amen'. A majestic tingling synthesizer sets the tone for the serpentine melody, as the mood shifts toward a distant lunar gaze, "Silver Moon" is serenity incarnate but when the throbbing bass enters the fray, the seduction takes completely hold. Adding synthesized voice shivers add considerable as if the cosmic winds seek control. Initially, "Timeless" is a more robotic piece, surely a wink at the Kraftwerk fellas, though the main theme is quite bombastic and overarching, with swerving melodies in full regalia. There is a fabulous change of sequence to finish off the thrill. The spirited "Rainbow Bridge" is another delicious romp, a bass synth setting the course towards a solid voyage, this has a strong "I Robot" (Alan Parsons Project feel to it) yet offers a solemn finale with only choir to excite the senses.

Jungle sound effects, rattling snake tails introduce the luxuriant "Miss You", chock full of dreamy suspension, a state of contemplation of the inner self, adorned with sweeping orchestrations of electronic emotions, suppressed melancholy and perhaps enjoyable memories of a time gone by. Silky sonic revelations. The metallic "Weightless" floats over waves of synthesized lather, unattached, unchecked, and free to wander, only the hard drums shine light on the path ahead, as if caught in a chaotic urban melee. The choppy principal theme is stirring. "Sunglow" has a cheerful disposition, a procession searching for warmth, a sparkling beach in some faraway paradise, as the synth line and the backing vocals evoke nature's organic beauty. The kling-klang lilt of "Traffic in the Air" acts like a Kraftwerk homage, an avionics version of Trans Europe Express if you will, a soundtrack to airline travel offering sonic travellers an exploratory voyage of every kind.

The effusive "Freefall" is perhaps my favourite track as it combines within its 6 minutes+ all the elements that are inherent to this artist's skill, an all-electronic adventure that fears not adding details to the otherwise pinging and ponging foundation, expertly portraying the sensation of Zero Gravity, even though one is being hurled downwards at vertiginous speed. Halfway through, a massive transition occurs, as the rhythm seems to be caught up in some stormy gale, crosswinds urging the direction towards new horizon. An aural parachute has perhaps deployed, finding the listener gently suspended amid the colossal clouds. "Enter Atmosphere "is the finale, suggesting an inverse throttle, heading upwards into the star-laden universe, instead of hitting the ground, feet first into the hay. Amid the shrieking electro machinery, 'Lift off' can be heard in the background.

4 null magnitudes