We're sorry, something went wrong. Please try again. About this product. Brand new: Lowest price The lowest-priced, brand-new, unused, unopened, undamaged item in its original packaging where packaging is applicable. Artist: ELOY. Format: CD. Condition: New. Missing Information?.
Read full description. See all 11 brand new listings. Qty 1 2. Buy it now. Add to basket. Sold by rarewaves-outlet All listings for this product Buy it now Buy it now. Any condition Any condition. Last one Free postage. The music moves in crescendo with dazzling drum work and keyboard sounds.
It's an uplifting album ending which has meaningful message at the end of it. Overall, this is a masterpiece of any prog music collection which came out at the end of prog and rock golden era the seventies. The composition is very tight, the music flows wonderfully without any sense or feeling of getting bored with keyboard or guitar solos, the performance of the band to deliver the music is outstanding.
I don't see this album lacks of something - all are perfect to me. Keep on proggin'..! When you listen to "Master of Sensation", "Floyd" comes again immediately to your mind. Another good song of course but the problem with "Eloy" from their early days, is that they are five years behind the trend. But of course they are no trend-setter. A good band releasing good albums. That's all. Even if I like the instrumental parts of "Master Because vocals didn't improve. In this order of things, "The apocalypse" should have been a full instrumental.
Some great synth and guitar work but this is general to this album. Sweet and melodic, like the masters could play. Such music is really pleasant and when "Eloy" performs such a great number, it does belong to a very good class of bands. Would these awful vocals being taken out of it, this would have been a great track. As such, it is a very good one because most of the "vocal" part will be held by Brigitte Witt.
I just put vocal into brackets since they will be more in the style of what can be heard in "The Great Gig In The Sky" and the fabulous work from Clare Tory. What a pity that no one in their management could have made this clear. Anothe rvocalist should have been assigned. But even so, "The Apocalypse" is a highlight and one of the best "Eloy" song from this side of the earth. It also shows obvious "Tangerine Dream" influences mid seventies period during their great trilogy.
An abrupt end though which is rather weird for a song of that lenght. The band could have thought of something more "refined". This first part of the album is really great.
It will be difficult to keep this high quality level. Still "Pilot to Paradise" holds a great deal of psychedelia and great guitar sounds during the second part. The very good mood keeps on going. This is one of my favourite album from the band.
As one could guess, "Mighty Echoes" is fully "Floyd" oriented again. This time it is strongly related to "Have A Cigar" for the chorus. This album might not sound very innovative nor personal but it is a pretty good album. One of the best "Eloy" one. Four stars. While another musically strong album, "Silent Cries" suffers from its imitation status.
But they never got as morbid and despairing as Pink Floyd, for better or worse. Even here, a sense of optimism and faith shines through the gloom. Further along, we have an unfortunate attempt to replicate "The Great Gig in the Sky"'s propensity to female histrionics.
But, apart from these displays of idolatry, the album stands pretty well on its own. Bornemann performs more lead guitar solos than on the last few releases and shows himself more than capable, but plenty of spaciness remains in Detlev Schmidtchen's accompaniment.
In fact, I do believe Eloy also tipped the hat to fellow Germans Tangerine Dream in the final part of "Apocalypse", which sports the telling "Force Majeure" a name of a concurrent TD album moniker.
In quieter sections, gentle and subtle lead guitar interfaces with the synths until Bornemann regales with a similarly caressing vocal melody. The softest contribution is "De Labore Solis", but it never really develops beyond ambient, which is rare for Eloy.
As with its predecessor, this album culminates well in the final minutes. Due to its general, at times, blatant lack of originality, I have to dock a half star to Eloy's last s effort.
Still a partial triumph for its era, and one of the last echoes of epic s prog. Both of these songs feature some amazing keyboard work from Detlev Schmidtchen.
The rest of the album seems more of a letdown because they aren't as inspired and exciting as the first three tracks. But if you skip over those first three tracks and start with the rest of the album, what you are left with is some excellent material that's on par with some of Eloy's best stuff from this time period.
The album might have been better off ending with The Apocalypse and having tracks appearing between these two great pieces. Other than an imbalance from track positions, the only other downside to Silent Cries and Mighty Echoes might be the vocals of Frank Bornemann. Now I say might be because for some listeners, his heavily-accented English doesn't bother them.
It doesn't bother me either, but I feel it's worth noting for those of you who haven't heard Eloy's music. I sometimes think Eloy could have been a notch better if Bornemann had sung in his native German tongue. Future albums featured shorter songs and what seems like a movement towards neo progressive rock. Definitely a four-star, almost-masterpiece gem released when most prog bands were doing the "Follow You, Follow Me" silliness.
Highly recommended for those of you who love lush, spacey synthesizers. Silent cries and mighty echoes from is a very strong Eloy album, among the best from them, close to a masterpice but not as good as the predecesor Ocean. Here we have on some pieces and is not something new about Eloy's music, floydian atmospehere, spacey guitars and keybords. Another thing to mention is that Eloy's music by the time they reach the end of the '70's is still very good and with high quality in their albums, kinda hard to find on other prog lengends that begun very well in the and by the late '70's thy became or more AOR or pop prog bands, examples are many.
Eloy keep the flag and standards very high in progressive music in that period, and this is very good. So the best pieces are all, not a step down from the previosses albums. Silent cries and mighty echoes desearve 4 stars without question, among the best late'70' albums, recommended not only for Eloy fans but for those who listen to good spacey progressive music in general.
Some nice organ runs follow. Synths are prominant before 2 minutes. It opens with almost spoken vocals with floating synths in the background. Great sound! Vocals a minute later. It's very spacey as it settles before 6 minutes. Female vocal melodies join in before the guitar returns. The guitar makes some noise to end it. Vocals after a minute. Guitar solo before 6 minutes.
Some cool lyrics on this one. Then it settles into a mid-paced tempo. Great guitar after 5 minutes. More meaningful lyrics as well. There's no question this is one of their best releases. I still prefer the earlier albums "Inside" and "Floating" but this is a must for fans of spacey and atmospheric music.
The vocalizations of Brigitte Witt make a sensational air the track, even more with the guitars very melodic. On its other side a 'bang' gets crushed the left side of the speaker, and a synthesizer from the underworld boss a melody that the band is taken very Neo Prog in the 80, all of the legacy master Richard Wright in Wish You Were Here.
Pilot To Paradise Sensacional name, starts there. Line bottom sensational, guitars that 'speak' and a bitch Space Rock. Full of crazy sounds of keyboards and guitars full of unique style. In some moments I remember the Nektar too. De Labore Solis A 'whistle' simulated by keyboards, bass and a bed of guitar, and once again Pink Floyd in the can, unless the excellent voice of Frank.
The melody is trash. A calm music and 'thinking' for cleaning the same thoughts. Mighty Echoes Full of German accent that voice, which gives an extra charm. Chorus full of energy. Can you see the guys who heard Floyd pacas, laughter. Soil full of inspiration and some dobradinhas along with keyboards, various parts of hit, strange sounds, a low base and endless sensational. I tried this band for fun, and I decided to go with this album I had a book as a kid of paintings by great Sci-fi artists think of the Heavy Metal girl sitting on the flying beast , and the cover attracted me instantly as a reminder of those great readings.
It also reminded me of covers of the Van Vogt sci-fi books I used to read in high school, instead of paying attention. So everything was in place for me! The songs just captivated me almost instantly: spacey-dreamy keyboard, great chopped guitar riffs and perhaps the catchiest bass lines of the 70's. Are you like me, loving the Riverside bassist chops? Then you find more than you asked for with this album. Simply, it made me want to grab my bass and learn it!
The first being too known, and the latter being dissonant music to get naked on LSD and make out with anyone ewww. I had my worries. But Eloy is not really Floyd and certainly not Hawkwind: a intergalactic trip on a spaceship with a spectacular landing on a planet filled with unknown species. Oooh yeah! If space rock isn't your cup of tea: try this album, you won't consider the genre the same way anymore.
Just two years after the supposed 'huge breakthrough' for this band that was Ocean , Eloy decided to drop all the coyness and tribute Pink Floyd properly. For some reason, however, when the band faced their similarity to Floyd head-on like this, the sound ended up being much more rewarding for me than I expected. First thing's first; if you can't tell that this album if a Pink Floyd tribute, you're musical knowledge should be improved considerably. However, since I feel the band made this fact fairly obvious via the album's opening practically mirroring the intro for Wish You Were Here , it resulted in the music itself not sounding nearly as blatantly copied as the previous album.
At least for the most part. I think there is a female vocal solo on ''The Apocalypse'' track that is pretty reminiscent of ''Great Gig in the Sky'', but that's the only other musical movement on Silent Cries that screams 'Floyd' to me.
However, after that, the hard similarities end, and a much more original album takes shape. The tunes never lose that Floydian vibe, and they are clearly wearing that influence on their sleeve, but that doesn't mean the album itself doesn't stand on its own.
I found myself very much enjoying so much of this album, that it blew my mind, especially since this is the very next thing Eloy did in the studio after Ocean. In fact, there are some moments on this album that sound nothing like Floyd at all. Sure, they still 'feel' like Floyd, but plenty of stuff happens throughout that I couldn't point to specifically and say ''that came from insert Pink Floyd album name here!
On the band's previous effort, I was able to do that quite often that is to say, when there actually WAS real music to be heard, and not just the long periods of nothingness that was rampant on that release. Something else I wish to take time and commend here is Frank Bornemann's vocal work. I gave him a pretty hard time in my last Eloy review, and I want to make sure it's made clear that I don't hate the guy as a singer; I just think he sometimes gets a little in over his head with the lyrics being in English.
However, on this one, his accent seems a little more subdued. Perhaps he coached himself a bit, or maybe he just made sure the words chosen were easier for him to get a grip on, Either way, his voice seems to have improved, and it continued to do so over the course of the band's career.
Again, the similarities are made so clear on this one, it's obvious they were intentionally paying tribute to Waters and crew. Nothing wrong with that, in my opinion, as long as the music itself can stand on its own, which I believe it does on this one. This is also an improvement over the last album simply because there is more content, here. This is 'real' music that rocks, soars and grooves to a degree the motionless song structure of Ocean was nowhere near.
So how am I going to rate this album? Well, I certainly consider it one of Eloy's better efforts. No longer avoiding the obvious similarities with their key musical inspiration, they learned to embrace it and use those familiar cues to fuel a more vibrant, original record than some of their previous works.
It's a fine album that carries enough familiar stylings to comfort the new listener, yet stands on its own when it truly counts. Certainly there are similarities, but as I already said, I believe Ocean to be the more unoriginal of the two, and since these are both among the band's top sellers, if you choose to go with one or the other, choose this one.
Especially if you're new to the band. Happy listening. I am starting to get into Eloy pretty extensively lately, always knew they were there but never really went beyond the two Ocean albums Ocean 2 being a big favorite. I found this well- documented masterpiece and frankly pun on Bornemann , this is damn good space rock, if you go beyond the Teutonic accented vocals.
Bornemann has only to solo wildly over the Lunar crests and the Martian craters, all quite tastefully, might I add! This is a classic space rock track, a catapult into the harsher frontiers of electronica ruled by some aggressive rhythm section work.
The massive and highly acclaimed "The Apocalypse" epic follows immediately, a measured and tempered pace keeps this horseman tightly reined in by a robust and unyielding bass disciplinarian in Klaus-Peter Matziol, aided and abetted by sultry keyboards and scintillating guitar licks that whiz by the asteroids, blossoming into colossal bluesy leads that would do the Gilmour guy proud.
The male and female choir work is a new fangled addictive additive that catches one by pleasant surprise, the brief feminine vocal infuses some sexiness into the deal but its really the famed "floating" quality that provides the deserved respect.
Very mellow and dreamy as the finale basks in some near TDream-like atmospheres , sequencers and blistering synth leads galore. Another true classic! Nothing ultra complex, just a head-down, full-bore cosmic launch into the senses that proves their worth, as they morph into a neo classical expanse and finish off back diving into the fury.
Sort of like a space ballad that flirts with the mind. The solemn "Mighty Echoes" introduces Frank's finest lead vocals though his German accent is hilarious as the focal point that has all the typical Eloy ingredients firmly in place, the Floydian vibe close and upfront, unashamed.
I cannot praise this enough as it's inspired, thoughtful and yet utterly relaxed progressive space rock and an absolute must for real fans of planetary arts. The closing guitar solo once again reinforces all the truths, searing and soaring with abandon. The slight gloomy choir and mellotron edge is what sets them apart from the other space bandists, much to our pleasure.
My copy is a re- master, so there are 2 bonus tracks that tow the line in many ways, "Child Migrations" is short and direct, perhaps in a definite Hawkwind mode circa "Quark Strangeness and Charm", a cool strutting guitar lead and a glossy female choir spicing things up. Same general impressions for the second 3 and a half closer, the bass curling temptingly and the mood dancing along. I do not know if this analogy is far fetched and perhaps even worthy of censorship but space rock is fantastic "sex" music, trust me on this, a joyous accomplice in providing sonic aura to the all the passionate lovemaking.
Having imploded after the "The power and the passion" to the point of virtual extinction, Eloy were picked up by de facto band leader Frank Bornemann, dusted off and re-born with a completely new line up. To his and their credit, the band continued the good progress which had been made, recording the fine albums "Dawn" and "Ocean".
The line up remained together for this their third venture together, although "Silent Cries And Mighty Echoes" would be the last recording by this particular quartet. The album was released two years after "The ocean", a sizeable gap in the context of the prolific nature of Eloy's output.
While bands such as Yes and Genesis were exploring more commercial directions, it is to Eloy's credit that they continued to record genuine prog. Listening to the opening bars of "Astral entrance", once could be forgiven for thinking you had mistakenly picked up Pink Floyd's "Wish you were here".
The lush orchestral synth sounds and floating lead guitar are straight from "Shine on you crazy diamond". As we merge into "Masters of sensation", we move into "One of these days" with vocals. The sound though is quite sensational, and arguably Eloy's strongest statement to date. The track also features a fine synth solo. The Floydian influences continue on the epic "The apocalypse", where fine female vocals offer a "Great gig in the sky", while the synth sound of "Crazy diamond" is clear elsewhere.
The track is in three contiguous sections, running to 15 minutes in all. The latter part of the album is a bit weaker than the rest. The closing "Mighty echoes" is the least Floydian of the tracks, taking the band back to their harder rock days.
In all though, a superb collection of tracks, and certainly one of Eloy's finest albums. The Pink Floyd influences are undeniable, and the band make no attempt to disguise them. There are though some majestic sounds and fine compositions here.
The remastered CD has two bonus tracks. The version here has the sound of an advanced demo, and is somewhat shorter than the finalised recording; it includes some offbeat choir harmonics! What pleases me is the return to more straightforward space-rocking material. Just as on Floating the band sticks to their chops and create great spacey mid-paced rock.
Gone are the symphonic ambitions of previous album. A good evolution as those ambitions reached far outside the band's capabilities and while popular, it never resulted in an artistically satisfying album. With the catchy space-rock vibe that they struck here, the reduced importance of the vocals makes them far less distracting. There are still some inadequate parts, such as in the opening of the epic Apocalypse , also tracks like Pilot to Paradise and De Labore Solis continue to demonstrate how Bornemann is only capable of that doing that same old talking vocal line on each and every Eloy track.
Excellent music this time but with this vocalist it remains difficult to take this band seriously. Anyway, it's sure my second Eloy favorite after Floating and recommended to fans of early 80's Hawkwind and lush synth space-rock. As such the present album suffers from the same shortcomings as the previous one, but this album is a lot less intriguing and less memorable. One major problem I have with many Eloy albums is Frank Borneman's German accent which is no less evident here than on the previous album.
His vocals would approve on later albums, though. As hinted at in the album title, Echoes by Pink Floyd seems to be a major influence for Eloy here and elsewhere. The long compositions with David Gilmour-like guitar solos and floating, atmospheric keyboards remind of that famous band. Some of these compositions are too "nebulous" and seem to go on forever and the tempo is generally too slow for my taste. I wish I was able to describe the music in greater detail, but I find it mostly uneventful.
There are some rather tedious and overlong passages with not much happening at all. Frankly I find much of this album dull and quite unoriginal. Ocean too had a couple of gray areas, but Silent Cries And Mighty Echoes is almost entirely a gray area! Ocean also benefitted from its concept that held it together, but if there is a concept here it is vague.
Overall, I find this album to be rather overrated both in the genre as a whole and even within Eloy's own catalogue. I would only recommend this to fans and collectors. During the 3 minutes intro you can expect to hear Gilmour playing the famous four notes of Shine On You Crazy Diamonds All the songs have more or less Pink Floyd inside, but there's also enough of Eloy's distinctive sound even if Frank's voice is the most distinctive thing in Eloy's music. I've always thought that they would have had more success if they decided to sing in German.
The Uriah Heep influence is now gone forever and this album starts like a clone, but there's a bit more. This song, in particular, is the one which sounds less floydian and it's the one that persists more in my mind after I listen to the album, and not only because it's the last track. It's a pity that a so skilled band had the attitude of "cloning", but they have always added something personal to the clones and the final product is everything but bad. I don't think it's "essential", as other albums before this e.
Ocean are more representative of this band, but I can't say that it's not good. The electric guitar solo is equally satisfying. After this introduction, an organ-led groove not unlike what could be heard in late s Van der Graaf Generator lays the foundation for spacy keyboards and lead guitar.
It evolves throughout, visiting various psychedelic themes. The middle passage borrows symphonic textures.
That is not to say it is a bad track; it contains exciting keyboard themes and a steady yet creative bass line. An excellent, if repetitive conclusion to one of Eloy's finest albums. It is difficult to see where the pinnacle of Eloy's career is located but surely it must have been during the mid 70s with 4 masterpieces in a row being churned out, many of which were visionary concept albums; "Floating" , "Power and the Passion" , "Dawn" and then they stunned us with "Ocean" One would be forgiven for thinking that these were hard acts to follow and their glory days may be coming to an end.
However Eloy had other ideas and created what many consider to be their all time master work, the amazing "Silent Cries and Mighty Echoes" Once again it was a massive concept album with some very complex and ingenious passages of music.
It is even more stunning as it came in when prog was beginning to grind to a halt with the upsurgence of new temporary fads of music such as interminable punk and even worse the disco infestation.
Nobody, except the very discerning music connoisseur, cared about concept albums and lengthy compositions with time sig changes and virtuoso musicianship. All that was required to get people hyped was a 3 minute song with 3 chords and no singing ability; I present The Sex Pistols.
If that was too heavy for you, there was always the booming beat, with orchestra strings, funkadelic bass and manufactured singing; I give you the discoteque scene. As shameful as these musical diversions that lasted a few years were, prog rock had no chance and the synthesizer was about to become the best friend of the 80s, with the rise of new Romanticism and processed artists churned out of a mixing machine in a studio.
The artists didn't even need to perform live anymore as lip synching for TV appearances was sufficient and if you couldn't sing, fine as long as you looked pretty and could make girls scream.
Again bands like Eloy were doomed. You either jumped on the bandwagon and emulated the next big thing or your career was sunk. One prog band after another sunk without trace to the bottom of the ocean, swallowed up by the craze of the inferior musical landscape of disco and commercialism, and the ones that survived had to transform image and sound or end up also drowned in their own progressive juices.
Pink Floyd were about to change their sound after enormous success with the mother of all concept albums "The Wall" right on the cusp of Where did Eloy fit into all this?
They decided to bite the bullet and produced another concept album with huge progressive delicacies, and the result is one of the best progressive albums of , and indeed one of their triumphs among a plethora of 70s masterpieces. It was to be one of their last crowning achievements, though "Colours" , "Planets" and "Time to Turn" proved they still had some excellent musical ideas left in the tank.
The opening of 'Astral Entrance' as the soft guitar chimes in, is reminiscent of Pink Floyd's 'Shine On' intro with the same measured tranquil beauty and atmospherics.
It builds with 'Master of Sensation', with a faster cadence and strong vocals by Bornemann. His delivery is quite forced with Hawkwind spacey echoes; "It is real, so unreal, it's the magic sign, Make us rise, makes us kneel on the edge of time, Here dwells the lord of creation, Here comes the master of sensation. The instrumental section is dynamic with trade-offs of synth and lead guitar.
As usual the heavy use of Hammond is electrifying. The band are incredible when they are in full flight on these instrumental sections.
The lead break is awesome and this is a powerful way to open this album on every level. The cathedral organ at the end is absolutely wonderful. A triumphant song by Eloy and they are at their best here. After an energetic opening the album moves into a tranquil passage of music with a 15 minute suite of songs under the banner of 'The Apocalypse' in 3 sections.
The first part is 'Silent Cries Divide the Nights' and I am almost in tears at the beauty of the music at The lead guitar augments the beauty with spacey echoes over a layer of synth pads and a pulsating bassline. The music organically ebbs and flows with an ineffaceable virtuosity. Bornemann's vocals are transfixing on part 2 "The Vision? Burning", as he sings of esoteric and high conceptual thoughts of the astral plain of existence; "The air will be afraid of our mortal frame, Ethereal we are, the air we breathe, The storm that's stirring up all fire, I see, our life and limb will still, Not come to harm at the moment, That's the reason why we still think, Of everything to be alright, But our hidden souls already dwell, In seas of flames, red hot solution.
The lengthy instrumental section contains some breathtaking musicianship, with buzzsaw synths, mellotron nuances and emotional guitar soloing. At the end it even reminds me of 'Thus Spake Zarathustra'. Then the rhythm changes into a pulsating electronic sound like Jean Michel Jarre and some swirling synths take it into the stratosphere.
There is not a moment that does not take my breath away with the powerful jaw dropping musical intensity.