Yes, THAT Eroc – the drummer for Grobschnitt. So, what’s he doing here? Because his first solo album from the early seventies was a synth music album, that’s why – and a good one too. First off, as is fairly typical of any electronic music that came out of Germany in the early seventies, it doesn’t sound like anyone else, then once you’ve crossed that divide, you find it’s an album full of cosmic soundscaping, delicious melodies, deep expansive bass rivers and lots of twittering, phased, swooshing, cascading, deep, resonant space synths, lead melodies, all wrapped up in a variety of arrangements from languid to dark and powerful.
There’s even some electric guitar in there too – most notably in the six and a half minute ‘Norderland’ where the cyclical chiming guitar line adds to the whole density of the track as it flows its multi-layered, solidly rhythmic way to your heart, full to overflowing with electronics, synths drums, bass, guitars and a production that’s out of this world. Other track are brief glimpses into a world of new electronic music while a track revolving around echoed voices and electronics, ‘Horrorgoll’, is close to the avant-garde Cluster experiments, in nature if not in actual sound, of the time. The recent reissues’ bonus tracks sound more like something off the first Harmonia album, only more twisted and with added layers. With over twenty minutes of extra music, this is an interesting album that has stood the test of time pretty well and remains both a fascinating document of a musician experimenting with new sound productions as well as being immensely enjoyable and extremely varied, throughout.