ELOY, the Krautrock titans, dropped "Ocean" in 1977, a year when punk rock's sneering visage was splattered across the musical landscape. While safety pins and spit were the rage, ELOY dared to dive deeper, crafting an epic, sprawling album that defied the era's nihilistic tendencies.
Recorded at Sound-N-Studio in Cologne, a sonic laboratory where Can and Kraftwerk had conjured their aural alchemy, "Ocean" emerged as a testament to ELOY's unwavering commitment to their expansive sound. With Georgi Nedeltschev manning the boards, the band embarked on a sonic voyage that would push the boundaries of progressive rock.
This was a period of transition for ELOY. Founding member Manfred Wieczorke had departed, leaving Frank Bornemann to steer the ship. Bornemann's soaring vocals and intricate guitar work became the album's focal point, guiding the listener through a labyrinth of shifting moods and textures.
One of the most talked-about aspects of "Ocean" is its concept. The album tells a tale of the rise and fall of Atlantis, weaving together mythology, philosophy, and science fiction into a captivating narrative. This ambitious concept, coupled with the album's sprawling arrangements and lengthy instrumental passages, made it a favorite among prog-rock aficionados. However, it also drew criticism from those who found the concept overly complex and the music self-indulgent.
"Ocean" opens with "Poseidon's Creation," a grandiose overture that sets the stage for the album's aquatic themes. The track's symphonic arrangements, courtesy of Detlev Schmidtchen's keyboards and Jürgen Rosenthal's Mellotron, create an oceanic atmosphere that's both majestic and mysterious. This opening track, with its dramatic build-up and sweeping instrumentation, is often cited as one of the album's highlights.
"Incarnation of the Logos" follows, a multi-part suite that showcases ELOY's penchant for epic storytelling. Bornemann's lyrics, filled with mystical imagery and philosophical musings, weave a tale of spiritual awakening and cosmic connection. The band's musical prowess is on full display here, with complex time signatures and dynamic shifts that keep the listener engaged throughout the track's nearly 10-minute runtime. This ambitious suite is often seen as the album's centerpiece, showcasing ELOY's mastery of both composition and performance.
One of the album's most striking features is its sonic diversity. "The Midnight Fight/The Victory" is a hard-rocking anthem, propelled by Klaus-Peter Matziol's thunderous bass lines and punctuated by Bornemann's searing guitar solos. This track, with its driving rhythm and energetic guitar work, is often cited as a fan favorite. In contrast, "The Song of the Sun" is a delicate ballad, featuring Schmidtchen's ethereal vocals and a haunting melody that lingers long after the song has ended. This song, with its melancholic beauty and poetic lyrics, showcases ELOY's softer side and has become a classic in its own right.
While "Ocean" was largely embraced by ELOY's existing fanbase, it did spark some controversy. Punk purists, with their disdain for anything remotely prog-related, dismissed the album as pretentious and self-indulgent. Some critics, while acknowledging the band's technical skill, questioned the relevance of their grandiose sound in an era dominated by raw, stripped-down rock and roll.
Despite the naysayers, "Ocean" stands as a towering achievement in ELOY's discography. It's a testament to their artistic ambition, their refusal to be pigeonholed by genre conventions, and their ability to create music that transcends the limitations of time and trend. In the face of punk's fury, ELOY plunged into the depths of their own imagination, emerging with an album that's as vast and enigmatic as the ocean itself.
