PLANETS

Eloy's 1981 album is an incredible fusion of two marvelous genres, resulting in symphonic space rock- a fantastic blend. Similar to Yes's Drama, one can hear the 1980s flavor grabbing a hold of the music, but only coloring it just a bit. It is like some intergalactic medieval world- sword and space ships, queens and quasars, extraterrestrials and excommunications...portcullises and planets. The swirling keyboards as the most fascinating aspect- they are the centerpiece that refuses to remain in the center.

"Introduction" Dazzling synthesizer textures create an expansive atmosphere.

"On the Verge of Darkening Lights" The first stop on this journey involves a speedy rocker featuring rapid drums, light electric rhythm guitar, a thudding bass, flashes of synthesizer, and an urgent lead vocal. The masterful instrumental segment weaves synthesizer, shimmering guitar, and that same steady bass around one another. Gentle keyboards fade the song out, but bleed into the next.

"Point of No Return" Retaining the feel of the previous track, this song shows the creeping influence of the 1980s more so than some of the others, but makes for a hard-hitting and great song nonetheless.

"Mysterious Monolith" Gorgeous guitar and synthesizer begin this wondrous extended piece. The instrumental passage relies on organ for the foundation alongside the guitar, drums, and bass, but uses varied synthetic tones to paint over it all.

"Queen of the Night" Sweet strings dance over this heavy, fast-paced song, which relies on feminine backup singing quite a bit. Again, the diverse tones from the keyboards do not disappoint, and are an integral aspect of the song.

"At the Gates of Dawn" More delicate guitar and bright synthesizers flow through this breathy instrumental. The beautiful strings return, adding yet another dimension.

"Sphinx" Decidedly 1980s in sound, this piece has a decent drive and melody, but is really like a cross between early ELP and latter-day Pink Floyd. It has its own distinctive flair, however, and employs a militaristic theme throughout.

"Carried by Cosmic Winds" The final piece seems to borrow from early Mike Oldfield. It employs the organ more than any other song, and even uses a Vocoder for a few sections. At times, it may be compared to The Alan Parsons Project. The strings are once again phenomenal additions.