Customer Reviews

Colours

5 star:		(3)
4 star:		(5)
3 star:		(0)
2 star:		(0)
1 star:		(0)

 

 

It took me thirty years to discover this band but I'm making up for it now, I have purchased eight of their sizable catalogue in the six weeks and one more in route.

Eloy (name taken from H G Well`s Time Machine) is a German Atmospheric, Progressive Art Rock band that was formed way back in 1969. Colours, their eighth album, was released in 1980, the tenth anniversary of their first self titled album. The web site doesn't show it but the album cover is a rather colorful painting depicting the back of a clothes less fairy.

Colours is considered one of Eloy's most accessible, mainstream albums. True enough, it does have lot of pop/rock elements which should have a broader appeal than previous and subsequent releases but I still feel strong Progressive vibes. All the songs on Colours range from slow medium to medium in tempo. There is a fairly good variety, with songs like the opening track, "Horizons" featuring a couple lady singers and a new age, Adiemus feel, while the fifth track "Child Migration" has a strong hard rock feel. Tracks two and three "Illuminations" and "Giant" have a spacey psychedelic ambiance with the later being somewhat Pink Floydian. All the singing by Bornemann while not bad seems to be somewhat suppressed, like he's singing from a well. Whether this is done purposeful or not I have no idea but it's very evident on Silhouette, which coincidently receives my vote for the best song. Track four, "Impressions" emphasizes some flute playing and "Sunset," the last track, sounds like a spacey pan flute, though it's probably a synth. In fact a synthesizer or keyboards is a prime instrument used throughout on this and many other Eloy albums

What I Like

~ Brings back some of the great seventies and eighties sounds.

~ Simple unpretentious melodies.

~ Compelling arrangements. Nice use of instruments.

~ Like a mellow Hawkwind on some songs.

~ Music doesn't try to overpower you.

~ Nice variety in song selections.

What I don`t Like

~ *39 minutes - too short!

* Several Eloy albums were shorter that forty minutes and can now be purchased with bonus tracks of two albums combined.

Conclusion

One of the interesting things about Eloy is that their music spans almost three decades and the changes from album to album are palpable. It doesn't seem so much like they were evolving, more like they were adapting. Eloy's music isn't like that of most other bands, which have high, highs and low, lows. It's very even keel, it's more like their music is created, not to captivate or repulse you but to pleasure you.

I now have eight Eloy albums each with it's own personality, none with any songs that I obsess over and have to play over and over but I have been keeping four, out of five, cds on my player for weeks, so I guess you might say that I'm consumed with the overall effect of the albums rather than individual songs.

One of the good things about Eloy is that the music is so damned enjoyable. It does very nicely as background music. It can be unobtrusive but it has enough character to be a focal point, something you could sit down with headphones and listen to for enjoyment. That is one of the reasons I can't seem to get them out of my cd player. They're not distracting and they're not boring. The strength of Eloy lies not so much in the individual songs but the whole album as a unit.

Final rating 4.25 stars

Discography

1970, Eloy

1973, Inside

1974, Floating

1975, Power and the Passion

1976, Dawn

1977, Ocean

1977, Wings of Vision

1978, Live

1978, Silent Cries and Mighty Echoes

1980, Colours

1982, Planets

1983, Performance

1983, Time to turn

1984, Metromania

1985, Codename Wildgeese

1988, Ra

1992, Destination

1994, The Tides Return Forever

1998, Ocean 2

Eloy bravely soldiered on into 1980 with fantasy/sci-fi influenced cover art, loads of spacey synthesizers and very cosmic lyrics. I give them a lot of credit for this when you consider that a lot of the other prog bands had either packed it in or had watered down their approach. Admittedly, Colours does present a stripping back of the approach used on the excellent Silent Cries and Mighty Echoes (1979), but it more than holds its own musically and makes for an enjoyable listen.

Having lost the excellent drummer Jurgen Rosenthal and keyboardist Detlev Schmidtchen, the lineup on Colours includes bandleader Frank Bornemann (lead vocals, electric and acoustic guitars); Klaus-Peter Matziol (electric bass guitar and vocals); new keyboardist Hannes Folberth (organ, piano, synthesizers); new drummer Jim McGillivray (drum kit and percussion), and a new guitarist (Hannes Arkona - electric and acoustic guitars). In addition to the core group, there are some female backup singers that are featured here and there along with some flute parts that are not credited.

I like this new lineup and although the drummer is not as good as Jurgen, he holds his own. Besides his admittedly heavier, more straightforward approach works well with the material. The new synth player is great and his soaring leads on (what sounds like) the mini-moog are fantastic. He also creates wonderful atmospheres with some of the spacier synthesizer textures. Peter is a thunderous bass player and his punchy trebly tone really adds a lot to each piece. Overall, this band is very tight. One last thing, while Frank Bornemann sings in English, he has a very strong accent - it does not bother me the least.

The eight tracks range in length from 2:53 (Sunset) to 7:20 (Child Migration) and the tracks seem to blend into one another. Musically, this is solid progressive rock with a touch of the harder edge of the American stadium rock bands popular at the time. There are also some spacey sections characteristic of Eloy's mid-late 1970s music too and the combination with the heavier sections is very enjoyable. Melodies are pretty well developed.

This remastered album by EMI is excellent and features restored cover art and the lyrics to each track (in English). Unfortunately, while there are liner notes, they are written in German so I do not have the foggiest notion of what is being said. The bonus tracks are not bad although Wings of Vision does sound a tiny bit dated and Silhouette sounds like an outtake from Pink Floyd's The Wall album (especially Another Brick In the Wall). The sound quality is excellent.

All in all this is a fine example of heavy progressive rock by a band that, unlike their peers, did not care about dragging the cosmic 1970s into the 1980s. Come to think of it, the followup album Planets (1981) is even spacier! Recommended along with Dawn (1976), Ocean (1977), Silent Cries and Mighty Echoes (1979), and Planets (1981). Chances are that if you liked this album, you may like a few by Canadian band Rush including A Farewell to Kings (1977) and Hemispheres (1978).

It took me thirty years to discover this band but I'm making up for it now, I have purchased eight of their sizable catalogue in the six weeks and one more in route.

Eloy (name taken from H G Well`s Time Machine) is a German Atmospheric, Progressive Art Rock band that was formed way back in 1969. Colours, their eighth album, was released in 1980, the tenth anniversary of their first self titled album. The web site doesn't show it but the album cover is a rather colorful painting depicting the back of a clothes less fairy.

Colours is considered one of Eloy's most accessible, mainstream albums. True enough, it does have lot of pop/rock elements which should have a broader appeal than previous and subsequent releases but I still feel strong Progressive vibes. All the songs on Colours range from slow medium to medium in tempo. There is a fairly good variety, with songs like the opening track, "Horizons" featuring a couple lady singers and a new age, Adiemus feel, while the fifth track "Child Migration" has a strong hard rock feel. Tracks two and three "Illuminations" and "Giant" have a spacey psychedelic ambiance with the later being somewhat Pink Floydian. All the singing by Bornemann while not bad seems to be somewhat suppressed, like he's singing from a well. Whether this is done purposeful or not I have no idea but it's very evident on Silhouette, which coincidently receives my vote for the best song. Track four, "Impressions" emphasizes some flute playing and "Sunset," the last track, sounds like a spacey pan flute, though it's probably a synth. In fact a synthesizer or keyboards is a prime instrument used throughout on this and many other Eloy albums

What I Like

~ Brings back some of the great seventies and eighties sounds.

~ Simple unpretentious melodies.

~ Compelling arrangements. Nice use of instruments.

~ Like a mellow Hawkwind on some songs.

~ Music doesn't try to overpower you.

~ Nice variety in song selections.

What I don`t Like

~ *39 minutes - too short!

* Several Eloy albums were shorter that forty minutes and can now be purchased with bonus tracks of two albums combined.

Conclusion

One of the interesting things about Eloy is that their music spans almost three decades and the changes from album to album are palpable. It doesn't seem so much like they were evolving, more like they were adapting. Eloy's music isn't like that of most other bands, which have high, highs and low, lows. It's very even keel, it's more like their music is created, not to captivate or repulse you but to pleasure you.

I now have eight Eloy albums each with it's own personality, none with any songs that I obsess over and have to play over and over but I have been keeping four, out of five, cds on my player for weeks, so I guess you might say that I'm consumed with the overall effect of the albums rather than individual songs.

One of the good things about Eloy is that the music is so damned enjoyable. It does very nicely as background music. It can be unobtrusive but it has enough character to be a focal point, something you could sit down with headphones and listen to for enjoyment. That is one of the reasons I can't seem to get them out of my cd player. They're not distracting and they're not boring. The strength of Eloy lies not so much in the individual songs but the whole album as a unit.

Final rating 4.25 stars

Discography

1970, Eloy

1973, Inside

1974, Floating

1975, Power and the Passion

1976, Dawn

1977, Ocean

1977, Wings of Vision

1978, Live

1978, Silent Cries and Mighty Echoes

1980, Colours

1982, Planets

1983, Performance

1983, Time to turn

1984, Metromania

1985, Codename Wildgeese

1988, Ra

1992, Destination

1994, The Tides Return Forever

1998, Ocean 2

I think if you are a fan of progressive rock you will enjoy this album. It certainly has a heavy progressive element with an 80's sound. Lots of colorful keyboards with a great rhythm section. The German accent of the vocals doesn't do any harm, his sense of melody is good. My favorite is 'Child Migration'. Have an open mind and enjoy!

If you don't take off of the ground when listening to "Illuminations" then you should listen again. (Good Headphone, dark ambiance and some relaxation helps)

The magic of the music takes you right away on a journey you have never experienced before and as a musician I have to admit that it is done superbly.

The taste of intruments, techniques and effects used in this album are beyond the limits of good sound engineering and modeling.

I do have a great respect for the incredible synth solo that makes any Guitar sound inferior.

As always, Eloy has demonstrated exceptional music taste and incredible ability to take the lsitener on a wave to another planet.

Also try "Horizon" and see how you feel.

Happy Take Off!!!!

This is the first Eloy album with new line up and it shows. Songs are shorter, it is not a concept album, the direction in the music changes somewhat, but the compositions are still excellent.

Horizons is something new for Eloy, after Silent Cries and Mighty Echoes, this should have come as a surprise to many fans. Atmospheric with an almost electronic rhythm section. Strange, but after some spins one realizes Eloy is changing.

Second track Illuminations is more classic Eloy in style. The main guitar riif is very heavy, almost judas Priest like. Drumming is quite dynamic though a bit simple. Bass playing is superb (as usual). Halfway through there is a section that features a great synth work that really projects the song into new heights. The band repeats the theme from the beginning before Hannes Folberth delivers one of the best and more agressive synth solos I've ever heard. Classic Eloy!!!

Giant is another great track. The synth at the beginning of the song is just great. Though the mid tempo is maintained, the changes in mood show a very well craftd song where Frank's vocals deliver strong lines here and there.

Impressions is a beautiful track featuring a lovely synth and acoustic guitars. The dynamics between drums and bass are very well worked out. And the flute solo in the middle is also very nice. Pity Jim Mcgillivray left after Planets as his drumming was really unique.

Child Migration is the classic Eloy epic of the album. The synths introduction is awesome featuring some lyrics taken from Khalil Gibran's The Prophet. The heavy riff is just great and shows Eloy influence in many metal bands that came out in the early eighties. The song development follows a logical path (which doesn't mean is boring, far from it). The end of the song is awesome, though. Atmospheric keyboards and slide guitars. Eloy trademark all over!

Gallery is a difficult track to get into as it almost breaks the flow of the album. It features some strange vocal melodies for Eloy standards and its atmosphere hasn't anything to do with the general atmosphere of the album. That said, and once you're used to it, it is a great track, especially instrumentally.

Silhouette is the other epic (over 8 minutes). However, I find Child Migration to be a superior track. Silhouette starts off with a beautiful piano section then the band kicks in in typical mid-tempo Eloy fashion. The verses and the chorus repeat twice and here is where the song lacks a bit of originality. However, excellent guitar riffs and energetic playing turn the song into a great track.

Last, but not least, Sunset is a short track with acoustic guitar and synth solo. As simple as it may sound, it is ravishingly beautiful. One of the most beautiful tunes Eloy has ever written.

Colours might not be as epic in scope as Ocean or Silent Cries and Mighty Echoes as it represents a change in line up and a consequent change in style. However, the essence and spirit of Eloy are present in every single second of the record, both thematically and musically.

My bit of criticism, it is too short an album. And it is a pity as most Eloy albums clock under 50 minutes. Only Destination, Ocean 2 and the Chronicles cds clock over 50 minutes. A box set consisting of rare/unreleased tracks would not be a bad idea after all.

Silent Cries and Mighty Echoes marked the final album with keyboardist Detlev Schmidtchen and Jürgen Rosenthal. According to Frank Bornemann, the reason for Rosenthal and Schmidtchen's departure in 1979 was supposedly their egos got too big. The two then recorded together as Ego on the Rocks and released an album called Acid in Wounderland before apparently disappearing from the music business for good. That meant Eloy needed some new guys. Bassist Klaus-Peter Matziol from the old lineup luckily stayed, with the addition of Hannes Folberth on keyboards, Hannes Arkona on additional guitars, and British-born Jim McGillivray on drums.

That being said, this is a more down-to-earth album than what they done previously. Their new drummer was of a much more conventional rock style than Rosenthal was. The songs are shorter, with a more direct approach than before. Colours is usually regarded as one of their better albums, and while I have always preferred albums like Ocean and Silent Cries over this, this album even convinces the Eloy detractors out there. The big reason is Frank Bornamann's Germanic accent seems more toned down here, and the band doesn't concentrate on lengthy atmospheric passages like they did on Ocean or Silent Cries. There are a couple of pieces where Klaus-Peter Matziol, rather than Frank Bornemann handles the vocals. But at least Hannes Folberth still had the sense to use classic analog gear like Minimoog, clavinet, piano, Hammond organ, and string synths. Heavy guitar riffs are quite dominate on many of the cuts here like "Child Migration", no doubt courtesy of Hannes Arkona. "Horizons" is a really nice spacy piece with a female chorus and heavy use of clavinet. You'll hear a reference to Yes' Tales From Topographic Oceans in this piece ("Dawn of light lies between silence chased amid fusions of wonders"), but despite the quote from that album, this piece sounds little like Yes. "Illuminations" is one of the more complex numbers on this album. It shows a more aggressive Eloy than before, with heavy guitar riffs and extended Moog solos, plus the song goes through several changes, but always returning to the original theme. "Impressions" is a nice laid-back number with clavinet, and one of the rare times a flute appears on an Eloy album. "Child Migration" is dominated by heavy metal guitar riffs, but they even explored a little flamenco in one part of this song, which is not typical for Eloy. I like the string synth ending, it reminds me of something off Silent Cries and Mighty Echoes, but much shorter. The next two pieces, "Gallery" and "Silhouette" bears more than a passing resemblance to the Alan Parsons Project. "Silhouette" had some lyrics that went "The restless tides return forever", which leads me to believe their 1994 album The Tides Return Forever was a Colours reference. The last cut, "Sunset" is a synth-dominated piece, a rather mellow and relaxed number and quite spacy.

Eloy is a rare example of a '70s prog band that made it in to the 1980s without much problem. Colours proves that, and that also holds true with their following album, Planets.

Colours is my preferred Eloy Album

It really deserves to be listened to.

It has songs that you could say of : "I'm sure it's an 'Alan Parson Project' song".

"Ocean" and "Silent cries and mighty echoes" share second place ex equo on my list.

These perhaps have a more hypnotic nature of patterns that evolve slowly into something different.

This being also due to some longer songs.

I personnaly favour progressive music (music that has something distinctive from the rest)

But I think Eloy's music is very accessible (For those who might be afraid with the word "progressive").

I also favour music in minor mode (as opposed to major mode which sounds more cheerful/happy).

So do these albums.

The musicians really give me the feeling of being "together", each contributing to the whole, rather than trying to push himself in the leader role.