Author: Peter Podbrežnik
Artist: Eloy
Label: EMI Records
Release: 1981
Rating: 4.5/5
German space rock champions Eloy had more than enough reasons to be happy at the start of the ’80s. The excellent “Colours” (1980) was the album they strode into the new decade with, and they pulled it off without radically changing their trademark sound, as was almost the norm among most of their contemporaries. With the even more ambitious “Planets”, though, Eloy overshadowed the vast majority of those contemporaries, who were going through some pretty bleak times after the end of the ’70s when it came to experimentation, complexity and innovation. Not only did Eloy manage to enrich their signature sound with modern keyboards, but singer/guitarist and undisputed boss of the band Frank Bornemann also kept the lineup stable around him, unchanged from the previous album. On “Planets” you can feel the incredible chemistry of this version of the band the whole way through. And Frank, through poetry as well as music, was still successfully keeping his epic, sci-fi visions alive.
“Planets” is the first part of a two-part sci-fi concept telling of a war across the galaxies that has raged for thousands of years between the Ikareens, the original inhabitants of the planet Salta, and their demonic enemies. As is only proper, the conflict plays out in a distant galaxy, somewhere beyond known space and time. You could say it’s yet another classic tale of a long struggle between good and evil, in which good naturally triumphs in the end. That reveals itself in the second, final part of the concept, found on the next, inseparably linked album “Time To Turn” (1982). The two are tied together by a conceptual and sonic bond, since Eloy originally intended to release “Planets” as a double album, but under pressure from EMI, who clung desperately to the fact that double concept albums had been rather unpopular for years by then, they had to drop what was a pretty ambitious idea for the time. Even so, or maybe precisely because of that, both albums are superb and rank among their most beloved works, which after all these years still never stop dazzling with their mysterious futuristic magic. In every kind of art, whether it’s a book, a film or a record, the first part is usually the sweeter one, and the same goes for “Planets”, which blends all the band’s beloved sonic elements and the music technology of the time in near-perfect harmony.
The sound of “Planets” is defined above all by the extensive use of (for the time) modern synthesizers and, through them, symphonic orchestral arrangements that provide that esoteric, I’d even say cosmic, atmosphere. The orchestral arrangements, the domain of Hannes Folberth, reached an even wider spectrum than before. The interplay of energetic guitar riffing and the occasional twin-guitar harmonies between Frank and additional guitarist Hannes Arkona proves that this band always knew how to turn up the heat and steer its sound into heavier waters when the moment called for it. Guest female backing vocals are in the mix too. You could even say that some sections of this album had a lot of influence on the development of so-called space metal, the kind that Dutchman Anthony A. Lucassen started making many years later with his band Ayreon and his side project Star One. A band that in the ’70s was never counted among the main innovators in progressive rock, and wasn’t considered all that influential on other acts either, became one of the key players in modernizing and sophisticating the genre in the ’80s, without letting in the unwanted commercial music trends of the day. The mood of the album is soaked in futurism from start to finish. By this point Eloy were old hands at linking musical and lyrical concepts to tell sci-fi stories. British drummer Jim McGillivray, writing the lyrics in his native language, definitely bumped them up a whole quality class in that department, and Eloy surely had the best lyrics of any German rock band at the time, especially when it came to telling epic (futuristic) stories.
What kind of sci-fi story would it be without a short intro? “Introduction” features a colorful palette of synthesizers radiating an ethereal atmosphere and inviting the listener on a journey to a distant galaxy where the eternal battle between good and evil rages. Hannes Folberth has expanded his arsenal of synthesizers even further, and with it the number of atmospheric sonic curtains. “On The Verge Of Darkening Lights” has all the recognizable Eloy elements: atmospheric keyboards laid over energetic guitar riffing, plenty of drum fills and, of course, Frank’s “enriched” accented vocals. The instrumental passages in between, often ambient in nature thanks to the wide keyboard soundscapes, flow nicely out of one another. The masterful, melancholic transition before the second section is executed with great taste. When Folberth weaves in a mighty passage on the Moog synth, intertwined with a dissected, dynamic rhythm and an energetic guitar riff, the song hits its peak. It pours straight into the epic “Point Of No Return”, where Eloy cunningly fuse elements of what we’d today call progressive metal into their own distinctive vision of space rock. The instrumental outbursts, where resonant synths blend with punchy riffing and drum fills, are brilliantly laid out and create an exceptionally ethereal mood. The melodic chorus is excellent and packs incredible energy. Frank’s energetic vocal delivery adds even more power to the whole thing. His German accent is, as always with Eloy, a matter of personal taste. Personally, I couldn’t imagine their music without it. With this brilliant piece, Eloy once again prove themselves true masters of epic-minded space rock.
The next track, “Mysterious Monolith”, is more than obviously a lyrical tribute to the sci-fi literary and film classic 2001: A Space Odyssey. Here too you can admire plenty of atmospheric curtains, refined rhythmic transitions and exceptionally beautiful guitar passages, all joined into a rounded whole. Folberth’s cosmic synth solo in the middle is brilliant. Numerous excellent transitions, through extra tense build-ups on bass, guitar and synths (the latter including, among other things, a great and wonderfully witty effect), keep the poetic vocals company. The best part of the track comes in the closing instrumental section, when excellent passages on Matziol’s melodic bass follow one another, with all kinds of keyboard curtains in the background and guitar passages in between. Another one of those Eloy creations marked by exceptional dynamics between the individual players, and one of the best in their history. On the epic treat “Queen Of The Night”, Eloy reached new atmospheric heights in combining dramatic female vocals, epic orchestral arrangements, punchy rhythmic transitions and energetic guitar passages. The result is yet another great track of epic proportions. After a relatively innocent, calm intro on piano and Frank’s vocals, where tasteful orchestral arrangements are also placed very well, comes an extremely energetic, totally unexpected twist. After a mighty transition comes an epic, almost prog-metal section with a brilliant combination of orchestral arrangements, energetic guitar riffing and dramatic female vocals. The latter give the track a really special energy. I’ve always thought that bringing passionate female vocals in only did this band good and added superb contrast to their songs. Later on, dramatic transitions enriched with punchy riffing and tasteful orchestral arrangements alternate a few more times, only this time Frank’s vocals are back in the lead. The ending is practically completely classical, as if it were a piece of classical music. In my opinion, yet another Eloy classic.
The magical instrumental “At The Gates Of Dawn” features delicate, interweaving ambient arrangements courtesy of the ever-excellent Hannes Folberth, creating a thrilling esoteric mood. Eloy always knew how to use the ambient power of keyboards in just the right way and achieve that perfect cosmic atmosphere that only a few space rock bands managed to reach. “Sphinx” is another superb track, defined above all by the energetic interplay between guitar passages and the resonant sound of the synthesizers. Frank’s vocals here are torn the whole time somewhere between mystery and drama. The rhythmic transitions from McGillivray and bassist Klaus-Peter Matziol are brilliant once again. The band was always strong on the rhythmic side anyway. The flows between the colorful keyboard curtains run as if on a bet, which in turn creates incredible esoteric magic. The keyboard passages here are some of the best in their history. At the end the opening motif returns once more and reaches its climax with a special effect. The closing triumph of the first part of the ambitious concept is “Carried By The Cosmic Winds”, yet another of those epic and monumental Eloy works that drag a sufficiently devoted listener along to the edge of some unknown galaxy. This track opens with an explosion effect, after which lively synth textures complicate everything a bit. Here you can clearly hear guitarist Hannes Arkona’s contribution as an additional keyboardist too, trying his hand at the mini Moog. Frank is once again in his poetic element vocally. Some of the keyboard sounds are reminiscent of howling sirens here and there. Additional female backing vocals are integrated with great taste as well, forming the backdrop to the excellent instrumental motifs. In most of them, the sounds of symphonic keyboard arrangements, melodic bass and witty guitar embellishments blend brilliantly. A great finish to a great album.
“Planets” could quite justifiably earn masterpiece status, especially compared with most of the other prog rock albums released at the time, whose sound had more in common with pop than with the usual highly experimental music those bands were making in the ’70s. “Planets” is without a doubt one of a handful of gems that saved the honor of a genre that, with the exception of the emerging neo prog and a few lesser-known, usually very obscure bands, was in deep crisis. “Planets” was one of the rare shining jewels in the gloom that prog rock found itself in at the time. It’s undoubtedly one of their best albums, comparable even to the ones Eloy put out in their prime. Anyone who stumbles on this space rock gem in some dusty archive will surely be carried off on cosmic winds, with a face-to-face with the mysterious monolith along the way, to the farthest galaxy and the planet Salta, where they’ll face the eternal intergalactic conflict between celestial beings and fallen demons.
Lineup
Frank Bornemann – vocals, guitar
Hannes Arkona – guitar, keyboards
Klaus-Peter Matziol – bass guitar, backing vocals
Hannes Folberth – keyboards
Jim McGillivray – drums, percussion
Production
Frank Bornemann
Track list
1. Introduction (1:58)
2. On The Verge Of Darkening Lights (5:37)
3. Point Of No Return (5:45)
4. Mysterious Monolith (7:40)
5. Queen Of The Night (5:22)
6. At The Gates Of Dawn (4:17)
7. Sphinx (6:50)
8. Carried By Cosmic Winds (4:32)
Album length: 42:01
Bonus track on the reissue (2005):
9. On The Verge Of Darkening Lights (live 1983) (4:09)
