The year is 1982, and the new wave is washing over the musical landscape like a neon tsunami. Amidst the synth-pop sheen and angular haircuts, ELOY, the German prog-rock dinosaurs, released "Time To Turn", a defiant roar in the face of changing tides.
Recorded at Horus Sound Studio, a place where the ghosts of Scorpions and Accept still lingered, ELOY, led by the ever-present Frank Bornemann, attempted to navigate the treacherous waters of a new era. With a production team that included Jan Nemec, the band embarked on a sonic journey that blended their trademark prog-rock bombast with a touch of new wave sensibility.
This fusion of old and new is perhaps the most debated aspect of "Time To Turn". Some fans embraced the album's more streamlined approach, praising the catchy hooks and synth-laden arrangements. Others, however, accused the band of abandoning their progressive roots, lamenting the lack of lengthy instrumental passages and complex song structures. The album's production, while polished and professional, also drew criticism for being too slick and commercialized, a far cry from the raw energy of their earlier works.
The album opens with "Magic Mirrors," a pulsating track driven by Hannes Arkona's shimmering keyboards and Fritz Randow's propulsive drumming. Bornemann's vocals, always a potent force, soar over the mix, delivering lyrics that touch upon themes of self-reflection and societal change. This opening track, with its catchy melody and driving rhythm, is often cited as one of the album's most accessible and commercially appealing moments.
The controversy surrounding "Time To Turn" stemmed from ELOY's attempt to modernize their sound. While some fans embraced the album's more streamlined approach, others accused the band of selling out, of sacrificing their prog-rock complexity for a shot at commercial success. "Sister of Night," a moody ballad, further fueled the debate. The song's atmospheric synths and melancholic melody were a far cry from the band's earlier space-rock epics. Some praised the band's willingness to experiment, while others lamented the loss of their signature sound. This track, with its emotional depth and atmospheric sound, has become a fan favorite, though some critics dismiss it as overly sentimental and saccharine.
The album's centerpiece, "The Voice of Conscience," is a sprawling, multi-part suite that harkens back to ELOY's progressive roots. The track's intricate arrangements, featuring Hannes Folberth's soaring keyboard solos and Klaus-Peter Matziol's thunderous bass lines, are a testament to the band's musical prowess. This epic track is often seen as the album's saving grace by prog-rock purists, showcasing ELOY's ability to craft complex and engaging compositions.
Despite the mixed reactions, "Time To Turn" remains a fascinating artifact of a band struggling to adapt to a rapidly changing musical landscape. It's a flawed but ambitious album, a testament to ELOY's refusal to go quietly into the night. Whether you view it as a noble effort or a misguided attempt to stay relevant, "Time To Turn" stands as a testament to a band that dared to evolve, even in the face of adversity.
In the end, "Time To Turn" is a prog-rock album for a new wave world. It's a reminder that even as the tides of change wash over us, some bands will always cling to their roots, refusing to let the music die. Whether it's a triumph or a tragedy, only time will tell. But one thing's for sure: ELOY went down swinging, and that's something to be admired.
