Author: Peter Podbrežnik
Artist: Eloy
Label: Self-released
Release: 2009
Runtime: 42:03
Rating: 3/5
Who would have thought that the champions of German progressive rock would come back with a new studio record after almost eleven years, the time that has passed since the excellent “Ocean 2” (1998)? And with the rather unimaginatively titled “Visionary” at that, since many, especially after frontman Frank Bornemann’s long detour into producing and running a label, had written them off for dead ages ago. Their unexpected return is definitely good news for everyone who, in today’s flood of self-proclaimed prog rock outfits of dubious quality, still keeps the faith in those progressive rock pioneers who, even after decades, remain committed to their original artistic vision with adventurous and innovative music. With their latest effort, true to its title, Eloy at least partly live up to that vision, though their sonic armor has noticeably started to rust in places, something that simply can’t be avoided in the autumn of one’s career.
“Visionary” was recorded by the same lineup that shone on “Ocean 2”, which surely whetted the appetites of those who were hoping for another masterpiece. Those folks should brace for considerable disappointment, because “Visionary” is chronically short on its predecessor’s ambition and drama. A melancholic atmosphere dominates the album, and the hard rocking passages appear only as much as is needed to fill out the mighty symphonic arrangements, so as a whole it ranks among their most laid-back records in terms of ambience. With more variety between the individual compositions, that wouldn’t even be a bad thing. But the songs sound a lot alike in tempo, which clearly points to an overall lack of imagination, and a downright overall drowsiness, in the rhythm section. From longtime bassist Klaus-Peter Matziol, nothing special could be expected in this department at his age, while the biggest debtor is drummer Bodo Schopf, from whom fans would surely expect more dynamics and energy than he shows this time around.
The second problem, which robs the album of the lion’s share of its liveliness, is Bornemann’s voice, which has aged rather poorly over the years, so it’s no surprise that the band’s chief often hides behind guest female vocalists, who at least somewhat lift the overall vocal monotony and blandness. The legendary guitarist, who has kept his trademark, strong German accent when singing, does try his best to conjure up the proper space rock magic, but his vocal performance lacks the verve fans were used to in the past. Frank’s guitar technique is still in a class of its own and one of the main factors saving the album from outright mediocrity. In that respect he remains a master of guitar subtlety and a creator of intelligently crafted solos. Special praise is also due for the more than impressive contribution of keyboard virtuoso Michael Gerlach. His weaving of epic, dynamic symphonic arrangements is, alongside the guitar, the cornerstone of Eloy’s sonic continuity, the thing that was “to blame” for their best achievements in the past.
Lyrically, Eloy remain committed to the worlds of science fiction, which is hardly a surprise for a band that took its name from the people in one of the most beloved sci-fi novels, even though, contrary to their favorite practice, the album has no concept. It seems somewhat ironic that on “Visionary” the songs that come off best are precisely those that contain already-heard Eloy motifs, the ones that thrilled in their glory days. The best proof of how chronically short on new ideas they are these days, to the point of reworking their own past standards, is the otherwise excellent version of the long-time classic “Time to Turn” under the new title “The Challenge”, which is meant as a sequel to the original. They’ve built on the original motif with far more dramatic female vocal harmonies and expanded symphonic synthesizer arrangements. Meanwhile, Bornemann’s voice lacks its former emotional expression, so the original version from the album of the same name still comes out better in comparison.
Among the more interesting achievements is the symphonic ballad “Summernight Symphony”, where, besides the superb orchestral arrangements, Bornemann once again gets strong backing from the excellent contribution of the guest singers, which is also the main reason for its grand, thoroughly captivating mood. The epic “Age Of Insanity” is one of the lone highlights on the album that have that happy Eloy balance between hard rocking phrases and symphonic swells, with which they build their “spacey” atmosphere. This combination has the power to carry the listener away on the wings of their imagination toward ethereal spheres, though all longtime fans will easily spot similarities to some of their past creations. The rhythm section is also noticeably more creative and potent than on most of the other tracks, while Gerlach’s solo on the Moog synthesizer is a real treat for all the prog connoisseurs.
The remaining compositions fall into the average category. The opening “The Refuge” features an effective flute part and some interesting hard rocking guitar moves, but thanks to Bornemann’s monotonous singing it never manages to build a dramatic climax and go where it could have. “The Secret” has the potential to be a new space rock classic, as it successfully builds an ethereal atmosphere, largely thanks to a neat fusion of varied guitar phrases and symphonic swells as well as the fitting use of a vocoder, but the rhythmic monotony is so pervasive, not to mention the vocal “weariness”, that the initial potential soon dissipates. The biggest waste of potential, though, is the otherwise ambitiously conceived nine-minute epic “Mystery (The Secret, Part 2)”, which promises a lot at the start but delivers little in the end. Bornemann’s dull vocal performance, paired with the monotonous rhythm section, “makes sure” that the initial dramatic mood bursts like a soap bubble and turns into an instant dose of motifs we’ve heard too many times before. The one-minute closing ballad “Thoughts” comes off as rather half-baked and unnecessary, since it fails to achieve the desired effect and leaves the impression that the album ends somewhere in the middle.
“Visionary” is anything but visionary, an album chronically short on fresh ideas, yet it also packs all those trademark elements that earned Eloy their spot in the progressive rock pantheon of the greats. Little that’s new and a lot that’s recycled, then, which will satisfy only their most fervent fans. The weight of the years is clearly showing on the band members, so they can no longer create with their former passion and verve, which applies most of all to Bornemann’s singing. All that places it among their less interesting but still solid efforts, which in the end isn’t so bad for a band that was, not so long ago, with one foot in the grave. The most important thing, and what will be enough for many a fan to add the album to their collection, is that they ultimately managed to hold on to their recognizable sound. There isn’t a single bad song on “Visionary”, but also nothing truly thrilling that would let Eloy, in the new millennium too, count among those rare prog rock pioneers who are still capable of surprising us with something new.
Lineup
Frank Bornemann – vocals, backing vocals, acoustic and electric guitar
Klaus-Peter Matziol – bass guitar
Michael Gerlach – keyboards
Bodo Schopf – drums, percussion
Hannes Folberth – additional keyboards (2, 3, 4 & 6)
GUEST MUSICIANS:
Anke Renner – backing vocals (2, 4, 5 & 6)
Tina Lux – backing vocals (2, 4 & 6)
Volker Kuinke – Renaissance flute (1 & 2)
Christoph Littmann / keyboards, orchestra sounds (5)
Stephan Emig – additional percussion (4 & 6)
Production
Frank Bornemann
Track list
1. The Refuge (4:54)
2. The Secret (7:45)
3. Age of Insanity (7:56)
4. The Challenge (Time to Turn, Part 2) (6:44)
5. Summernight Symphony (4:22)
6. Mystery (The Secret, Part 2) (9:00)
7. Thoughts (1:22)
