The early 1980s was a period when rock music seemed to slide into the doldrums, with pop fashion favouring low-brow, synthesizer-heavy, dance tunes. Rock bands were re-branding themselves, with poodle haircuts, spandex and air-punching replacing the now passé long greasy locks, denim and leather and head-banging. In the progressive rock camp, things were even worse: many of the classic bands were splitting, changing direction or just lying low. Paradoxically, those acts that once thrived on their use of cutting-edge technology now found themselves sounding old-hat compared to the new artists who were riding the wave of the new synthesizer technology, producing hit singles with all the skill that a sequencer and two fingers could muster. It wasn't all bad though: several new progressive bands were surfacing (such as Marillion, Pallas, IQ and - later - It Bites!), with sounds and agendas more compatible with modern instruments and production techniques. These heroes kept the flame burning through those long dark 80s nights.

German group Eloy weren't newcomers by then, but like The Enid, they certainly should be considered as keepers of the flame when the history of prog is written. By 1981, they had already been in existence for over a decade, passing through several changes in sound and personnel, but always producing high-quality music. However, that year's Planets and its thematic sequel Time to Turn saw them arguably at their peak, with a winning combination of superb musicianship, excellent songwriting, pin-sharp production and some very catchy tunes. Of particular relevance - given my introductory preamble - is their inspired and flawless use of the latest synthesizers, successfully avoiding the cold, unemotional cul-de-sacs of both artistic extremes: the established classically-trained pianists and the two-finger bodgers. In addition, they managed to finely balance their arrangements, so that their songs often had the intricate watch-like precision and grace of classics like Jeff Wayne's Musical Version of War of the Worlds.

Planets is a concept album, inasmuch as it has a narrative. It tells the story of a traveler from another world on a cosmic voyage. I can't be more specific than this, as although the sleeve notes go into the "prologue" of this story in quite some detail, the listener has only the lyrics, the cover art and musical clues to aid in understanding exactly what is happening for the duration of the music. To be fair, this doesn't really matter, as the music stands on its own without the need of the supporting back-story. Suffice it to say that the story's hero "Ion" voyages far and wide, facing dangers, meeting strange and beautiful life-forms, and receiving wisdom and guidance. The CD booklet includes copious notes (curiously, the band history section is in German, the rest is in English), plenty of photographs, and a miniature reproduction of the gorgeous alternative cover for the UK market by Rodney Matthews (which I freely admit is the reason why I bought my original picture-disc vinyl copy back in '81 - who says you can't judge a book by its cover?). With obvious Pink Floyd influence, but also echoes of Jean-Michel Jarre, Tangerine Dream, Jeff Wayne and Space (the French electronic outfit of the 70s, I mean), this record is immediately attention-grabbing and catchy, yet rewards repeated listening. It rocks too! Even after three decades, I still don't tire of hearing this wonderful record. Whereas many 1980s albums seem to have dated far more than their 70s predecessors (bass synths, anyone?), this one stands tall and proud. I thoroughly recommend this to anyone who likes classic progressive rock, electronic music, space-rock or metal.

This review is available in book format (hardcover and paperback) in Music Street Journal: 2012  Volume 5 at lulu.com/strangesound.