Author: Peter Podbrežnik
Artist: Eloy
Label: EMI Records
Released: 1982
Rating: 4/5
“Time To Turn” picked up the sci-fi concept Eloy kicked off on the previous album, “Planets” (1981). The big change on this record was undoubtedly the sudden switch behind the drum kit. Brit Jim McGillivray, who proved himself not only a superb drummer but also a fine lyricist, suddenly left the band, which was enjoying quite a bit of success abroad at the time. He was replaced by a returning old fox, Fritz Randow, who had already been in the band in its early days (73-75). After seven years he was back, though you could hardly say his absence had been painful, since both of his successors were equally outstanding talents. Randow was an automatic ideal pick, because Bornemann wanted to push the massive drum sound and the dynamics of the percussion even further on this album, giving the compositions a somewhat punchier sound, while on the other hand intending to keep the sonic direction of the previous album. Folberth’s keyboards are even richer and more varied here, if that’s possible, and alongside Frank’s guitar they take the lion’s share of the album’s sound. Frank’s guitar wizardry continued to be faithfully backed by rhythm guitarist and occasional keyboardist Hannes Arkona. This Eloy line-up stayed stable until the end of the first half of the 80s. For quality lyrics, Frank’s colleague Sigi Hausen stepped in this time. As for the continuation of the sci-fi concept about the intergalactic war between the angelic Ikareens and their demonic enemies fighting for dominance over the planet Salta, the demons predictably draw the short straw in this chapter, and light once again triumphs over darkness.
The musical face of “Time To Turn” follows the sound and mood of its predecessor almost to the letter. The individual arrangements are a touch less complex, but they’re still dynamic enough, and they always keep a clear melodic component and an epic flavor. On this album too, the band stayed true to its musical vision so far and made the music it wanted to make, without any pressure from a greedy label. They used modern recording technology the right way and enriched their sound without commercializing in any way, which was a real rarity at the time. The dominant ambient keyboards complement the harder or subtler sections nicely all the way through, forming rich, multi-part harmonies. And the thing that matters most for effective space rock magic is ever-present.
Already on the opener “Through A Somber Galaxy”, Captain Frank and the crew of his galactic fleet invite the listener on a thrilling voyage across a distant galaxy. His first officer Hannes Folberth fires up the ship with vivid organ and synth sounds. Frank, as you’d expect from one of the best German rock guitarists of all time, also works in a drawn-out but extremely juicy slide solo. The drum fills are seasoned with dynamics and punch. Frank’s dramatic vocals tie the tense story together. The dominant keyboard textures weave nicely with the individual guitar passages. A proper opening treat that pulls the listener into the heart of the album straight away and fills their senses with a ton of esoteric vibes. Eloy always had a rich imagination, and that’s neatly proven by the excellent “Behind The Walls Of Imagination”, which bursts with unpredictable time changes, ambient keyboard textures and lively rhythmic lines. Especially impressive here are the funk-tinged lines of Matziol’s melodic bass. The ambient keyboard textures flow beautifully through the guitar passages here too, whether they’re acting as sonic backdrops or stepping into the foreground. Frank’s poetic vocals tell the story of an Earthling who met the heavenly inhabitants of the planet Salta and was stunned by their spotless goodness. Eloy were never big fans of singles, but when they did put one out, it was usually nice and crunchy and juicy. That goes for the title track “Time To Turn” too, which combines compact melodicism, punchy rhythmic transitions and complex orchestral arrangements. The swaying rhythm line and calm flow soon slide into a building section, where a subtle guitar motif honestly recalls some of the finesse typical of David Gilmour. The best part of the song is the guest erotic female vocals that come in on the chorus and add a great epic contrast. At the same time they conjure up the heart of the concept: as the conflict reaches its peak, the final battle begins and light predictably beats darkness. Frank’s solos here incredibly echo some of David Gilmour’s tricks, even though Frank had started shaking off the visible influence of his famous idol in the 80s with all his might. Without a doubt, this is yet another Eloy classic.
“Magic Mirrors” opens with an almost jazz-fusion intro, with a lovely line of melodic bass and drums, right up to the moment when subtle synth lines and dramatic vocals drop in and carry the song into the usual space rock waters. The song’s flow is surprisingly calm and easygoing, with witty synth motifs and melancholic guitar passages trading places. You can clearly hear both guitars at work here. While Frank spins out a solo, Hannes Arkona takes care of the rhythm guitar parts. Another very good piece, with a pretty laid-back mood for a change. Next up is the centerpiece of the album, the epic masterpiece “End Of An Odyssey”, where the space odyssey comes to a close. The opening synth solos are extremely tasteful and witty, and they sit superbly on top of Randow’s sharp cymbal work. I can say that with the inventive motifs on this track, Folberth finally stood shoulder to shoulder with the very best – Tony Banks, Peter Bardens, Eddie Jobson and so on. His out-of-this-world space textures and solos are especially majestic in the closing section, when they blend with the passages of both guitars and create incredible epic-melancholic magic. The other instrumentalists don’t lag behind the wonderful keyboard work one bit. Frank’s vocal performance here is unusually energetic, in places almost aggressive. The lyrics carry a message about an individual’s chance at self-discovery if they dare to venture beyond the usual limits of the known. In my opinion, one of the best compositions in their history and with that the best piece on this album.
“The Flash” is a punchier number again, with plenty of mighty drum fills, scorching guitar riffs, eclectic keyboards as usual, and angry vocals. After the first transition their metal predispositions come to life here, which goes especially for the work of both guitars and some of the rhythm sections. Folberth’s synth solos are once again finger-licking good and key to creating the epic-cybernetic atmosphere. The keyboard passages by no means sound like tunes from Super Mario, as was usually the case with most other prog bands in the 80s, but instead hit the sweet spot between symphonic and electronic. The closing “Say, Is It Really True” is a lovely ballad on acoustic guitar. Given that Eloy didn’t write many ballads in their history, they really shone here and came up with a touching piece with a gorgeous acoustic guitar melody, symphonic backdrops and an epic vocal telling an idealistic story, or rather a daydream, about a world without lies. I can say Frank delivers one of the best vocal performances of his career here. And the combination of the central guitar melody and the orchestral arrangements behind it simply hypnotizes the listener with its beauty. I can hardly imagine a nicer ending for this album and this concept.
“Time To Turn” is not only a more than worthy follow-up to “Planets” but also a very good standalone album, which all too often stays in the shadow of its excellent predecessor, with which it shares a sonic and conceptual direction. Although it was hard to follow up an album as superb as “Planets”, Eloy pulled it off completely. A clear connecting thread runs between the two albums, not just in the concept but also in the epic structure of most of the arrangements. Once again there isn’t a single weak track on the album; they’re all at least good, if not excellent. “Time To Turn” definitely ranks among their best albums and among the best releases to come out in progressive rock at the time. Eloy would only start noticeably shifting their sound into harder and somewhat less complex waters on the next album, but they’d keep all of their recognizable elements, staying one of the few prog rock bands that made it through the 80s without radical stylistic detours.
Line-up
Frank Bornemann – vocals, guitar
Hannes Arkona – guitar, keyboards, percussion
Klaus-Peter Matziol – bass guitar, bass pedals
Hannes Folberth – keyboards
Fritz Randow – drums
GUEST MUSICIANS:
Amy, Anna & Sabine – vocals (3)
Production
Frank Bornemann
Track list
1. Through A Somber Galaxy (6:00)
2. Behind The Walls Of Imgination (6:25)
3. Time To Turn (4:32)
4. Magic Mirrors (5:25)
5. End Of An Odyssey (9:25)
6. The Flash (5:34)
7. Say, Is It Really True (4:45)
Total running time: 42:06
