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Leeuwarden, Friesland, Netherlands | Established. Jan 01, 1993 | INDIE

Leeuwarden, Friesland, Netherlands | INDIE
Established on Jan, 1993
Band Alternative New Age


This band hasn't logged any future gigs

This band hasn't logged any past gigs



Auch heutzutage gibt es noch Bands, die sich nicht in eine Schublade stecken lassen möchten. Eloah ist so eine Band. Obwohl, Band ist eigentlich der falsche Ausdruck. Eloah sind vielmehr ein Zusammenschluss von Künstlern aus aller Welt, die sich neben der Musik auch der Malerei und der Poesie widmen. Das vierzehnköpfige (!) musikalische Konglomerat möchte sich stilistisch in keinster Weise limitieren lassen, was sie mit ihrem neuesten Album THE ART OF LOVING eindrucksvoll belegen. Auf dem Album bilden daher Einflüsse aus Art Rock, Avantgarde, Folklore, Jazz, Alternative oder New Age eine ebenso ungewöhnliche wie interessante Einheit.

Mal hört man die frühen Pink Floyd (die ATOM HEART MOTHER-Phase) heraus, mal werden Erinnerungen an King Crimson, Simon & Garfunkel (der Titelsong) oder Captain Beefheart geweckt. Garniert wird das Ganze mit einem "Wall of Sound" aus Gitarren, orchestralen Chorgesängen, romantischen Flöten- und Saxophon-Tönen oder gar avantgardistischen Wendungen innerhalb der Songs. Was THE ART OF LOVING insbesondere auszeichnet ist die Gelassenheit, mit der Eloah hier zu Werke gegangen sind. Man gibt den Songs alle Zeit der Welt, sich aufzubauen, der Gesang taucht in die tiefsten Tiefen der Melancholie, um im nächsten Moment von harten Gitarren flankiert zu werden. Trotz der ungewöhnlich hohen Anzahl verschiedenster Instrumente wirken die Songs nie überladen, hier wird sehr songdienlich und ökonomisch gehaushaltet.

Eine Track-by-Track-Bewertung macht an dieser Stelle keinen Sinn, THE ART OF LOVING sollte als Gesamtkunstwerk gesehen werden. Wer keine Berührungsängste mit Musikrichtungen wie Folk, Avantgarde, Weltmusik und Jazz hat, eingebettet in einen künstlerischen Kontext, der kann hier ruhig einmal ein oder besser zwei Ohren riskieren. Man sollte sich jedoch genügend Zeit für diese Klangreise nehmen, die selbst erfahrene Musikliebhaber an ihre Belastungsgrenze bringen könnte. Kein Album für den Mainstream. Kunstvoll!

Fazit: Art Rocker aufgehorcht, Eloah dürften euer Interesse wecken. Was die 14-köpfige Band (oder vielleicht sollte man hier besser von einem Orchester sprechen) uns auf THE ART OF LOVING kredenzt ist ein äußerst interessanter Mix aus New Art Rock, New Age, Jazz, Rock, Avantgarde und Alternative. Eloah bewegen sich hier zumeist außerhalb üblicher Songstrukturen. Ungewöhnliche Instrumentierung, genreübergreifende, ausufernde Kompositionen und filigrane Arrangements finden sich auf THE ART OF LOVING ebenso wieder, wie wohlklingende Melodien. Keine Platte, die man nebenbei hören kann, sondern eine höchst ungewöhnliche und interessante Stilmischung, die ob ihrer überraschenden Wendungen keine Langeweile aufkommen lässt. Ein Kopfhörer-Album, keine Frage. Aber eines, das sich lohnt entdeckt zu werden!

"Armageddon", "The Art of Loving", "The Fly"
- hardharderheavy.de

Eloah is a musical project led by Austrian multi-instrumentalist, singer-songwriter Elmar C. Fuchs. There are 14 members including male and female vocalists plus an impressive array of instruments from guitars and keyboards to horns, flute and violin. Expect the unexpected on this well-produced 16-track 74+ minute album. It dances between folk, prog, rock, metal, and new-age including a bluesy track, a jazz-tinged song and some comedic moments. They have their own sound but my compass-needle span briefly through Mandalaband, Jade Warrior and Midlake. The theme of the album is redemption and whil not all the tracks work for me, it's a compelling listen, often relaxing with fascinating musicianship. The male vocals are at times croaky, in a low register and can sound incongruous or tongue-in-cheek, while others are harmonious with nice counterpoints.
Armageddon starts off gently with piano and violin but then grabs you by the throat with a heart-stopping soul-tearing scream (from humanity) and includes good fast-paced guitar and violin work with a growly-metal chorus. Halfway through the album are two musical sketches: The Fly, a situation-comedy from the insect's perspective and Chocolate Covered Bear which is a surreal cinematic story about a walk in the woods! Pray to Them has a chant running through it (like a Hollywood Western rain-dance). Too Close opens with slow building guitar work and we hear a woman moaning with pleasure (I hastily turned the volume down); it's tempting to say that this was the album's climax! One Last Time is the stand-out track for me with its prog-gravitas and dramatic guitar. Verdict: Compellingly different. (DK) - Classic Rock Society

ELOAH - "Ode To Brother Horn"
Two Side Moon & SLW Promotions 2008

Music: Progressive Rock
Website: www.eloah.at
Duration: 71 minutes (14 songs)
Country: Niderland

ELOAH is the project of Elmar Fuchs which came into being in 1993 year. The album "Ode To Brother Horn" is ninth material of this project. The album is dedicated to Jorg Horner - the brother soul of Elmar. ELOHA assembled many musicians and the artists during many years of existence...

Supposedly the music to this album came into being in early years of 90th. A lot of time passed before these compositions saw a day light. However the content of the disc can be very interesting the lovers the romantic Progressive Rock. I think that their musical inspirations reach to 70th years. Additional trump of this musical content are the gentle influences of New Age music, that is clearly audible in the first and the last tracks.

And therefore these 14 songs are mainly based on the acoustic sounds, the chords and the passages together with the parties of piano as well as with gentle percussive rhythms. Among these very romantic sounds are plaited the gentle insertions of keyboards, the calm melancholy male-female multicoloured singings and even growling screams. These vocals sometimes create grotesque or musical theater tone. Moreover we will hear here the interesting serves of bass, the guitar solos and even the melodies of saxophone. The works are the very complex and varied rhythmically with lots of beautiful melodies. Here the influences of classic music also are audible clearly (both in parties of acoustic guitars and of the piano) as well as also a the bit of movie music and Jazz.

The arrangements are very climatic, spatial, mostly calm and gentle. In moments they introduce nostalgic, sleepy and dark mood wrapped in mysticism and mysteriousness. There and here the keyboards motifs make cosmic-psychedelic climate. Among this predominant sensitivity also appear the sharper sounds and the guitar riffs, the sharper vocals and stronger hits - outright in style of Hard Rock, Heavy Metal or even Doom Metal patents which bring in the dose of dynamism and the energy.

I wondered about the comparison of ELOAH's music to would bring closer to you the compositions from "Ode To Brother Horn". However, ELOAH creates so complex thematically music (but also coherent) that it is hard to find ideal reflection. I think about some music mixture. The more diversified SIMON & GARFUNKEL with the dose of TIAMAT and early LED ZEPPELIN... But it would be only small fragment of ELOAH's composition.

The project ELOAH created beautiful music, full of artistry, very inspired by emotions and sometimes very surprising as well as masterly.

Rate: 9,5/10 - MetalCentre

My oh my! The things one learns when browsing for info on some musicians on the Internet! You know, I was always taught that the Jewish word for God was “Jahweh”, and here I learn that the Hebrew word for God is actually...you might've guessed it?...”Eloah”!

Well, it is also the name taken by Austrian graphic artist (sorry I didn't check out on that part of his occupations more, but as always time was pressing when I was checking the Internet for the additional info) Elmar C. Fuchs for his “solo” musical escapades, adventures in which he was aided since 1993 by a veritable flock of contributing musicians, the most important of which being Fuchs' friend and soulmate Jörg Horner...the two able to feed upon each other for inspiration, as well as from neo-classical music, New Age music, and Progressive Rock, while jamming for hours on end. More importantly, “Brother Horn” taught his friend how to let go in the music, how to let the music flow and become a part of yourself! In fact, Eloah's 2002 & 2004 albums Mondstein and Mondstein 2- Ample Jazz are recordings (with Horner also singing) of just such jam sessions (before that, Fuchs had already recorded two other albums, a 1995 album about which I know nothing more that that it exists and was dedicated to Horner, and a 1998 album entitled Just Blood – to which Horner did not participate).

2004 was an important year for Fuchs. Not only did he release his new studio album The End Of Wisdom – A Musictale...but also his friend Jörg died. But in Fuchs' mind his spirit lives on, continues to inspire and influence his in his musical endeavours. Although most of the 2006 album A Matter Of Time was dedicated to Fuchs' life partner Astrid, the last two songs on the alum were dedicated to Horner. In 2007 Eloah released two albums, the two-part Sternenhafte (relating the Sternenfrau trilogy, inspired by Astrid), and the album Silicon Rhythm, dedicated again to Horner.

Thanks to the encouragement of several musicians involved in the eventual recordings of the Ode To Brother Horn album, Fuchs eventually dared to take on the re-recording of his very first and “lost” album. Now Fuchs himself admits the music was altered somewhat in some places from the original creations, but of course, not having the original recordings at hand, it would be hard for most of us to make out what those changes are. Therefore it's better concentrate on what's at hand, right? Well, the album opens and ends with parts 1 and 2 of “Yuri Soul Of Light”, which in character (somewhat dark and threatening Ambient synth sounds, elevating flute, acoustic guitar, non-typical percussion) are best categorised in the New Age genre. Spoken word vocals in the native language of one Thipphaya Cherdhirankorn (whom I guess to be Indonesian by origin) further enhance that feeling. In between what you get is mostly '70s-styled Acoustic Progressive Rock, although some electric guitar is played here and there as well. In the album's opening song (do not confuse for “opening track”) “Paradise Lost”, this comes in the form of a very Pink Floydian passage, in “Iron Lady” (once you get past the acoustic intro) the occurrence of the electric guitar makes for a very heavy track throughout (and as such stands out from the rest of the material on the album – luckily there's also more Progressive Rock tinted passages in this, the album's longest track), and then you get some additional electric guitar passages in the instrumental “Hymn To Brother Horn”, and in “Listen To Your Soul” and “Eyes Like A Lioness”. Deviating from the aforementioned is the instrumental piano ballad “Eloah (A Dirge For Brother Horn)” (if this isn't a completely new composition, it certainly was not the original title). With Fuchs being responsible for lead vocals, acoustic guitar, piano, flutes and synths, a major role in the album was performed by bassist Michael Lukas (whom also plays guitar on 3 songs) and drummer Vladimir Vesic (present on 10 of the 14 tracks on the album). Guesting roles were laid aside for electric guitarists Peter Jaklitsch (on 2 songs), Roman Bayer (on one song only), Ulrich Kaispel (2 songs) and Mannfred Kemmel (also 2 tracks). Taking over bass duties on 3 songs (not even corresponding with those Lukas handles a guitar on) is Hoimar Wotawa, and one Dominik Mittergradnegger brings additional moods to a couple of songs, with violin in the instrumental “Hymn To Brother Horn”, and alto sax to “Listen To Your Soul” and “What You Mean To Me”. Eventually, one Astrid H. Paulitsch (aha...could this be Fuchs' life partner) adds a chants passages of the title in the weirdly titled “Chjong Nadah Boo”.

As a whole, the album lasts almost 72 minutes, and where Fuchs' lead vocals are not always as accent-free as one might wish for, the musical context in which they're brought makes up a lot in the final evaluation of the album. In other words...I hope Fuchs is ready to start work on a new album soon enough, because I want to hear more music composed by this guy. And with this album actually dating back to 2008, I'd say it would be just about time, eh? Now...for you, dear reader, to get a whiff of this man's music, you might check out the 3 tracks he's posted in the music player at (www.) myspace.com/eloahmusic, but keep in mind none of those are from this album. However, when you scroll down that same page, you'll find three additional music players posted with material (might be only samples – I neglected to check) off 3 of his most recent albums. Piece of advice? When checking out that music, allow yourself to be at ease with yourself and the world around you, switch your mind to emptiness, and enjoy what next befalls you!

92/100 - concreteweb.be

New age progressive alternative, the promo note calls this album that has taken a record two-and-a-half years from release to reaching the Metalliville letterbox.

Probably because they needed the time to decide what they were going to single this Austrian outfit’s style down to. Deciding not to bother in the end, it is a fusion of prog, psychedelic, metal, folk, indie, acoustic rock and occasionally eastern and medieval influences. Though fourteen tracks seems quite an uphill struggle for me as an explorer of this type of musical route I get to the top of it even if taking my time.

Many of these tunes are slow beat with countless experimentations on strings and keys alike spreading the verses and occasionally slowing my patience. Frontman/Innovator Elmar C. Fuchs clears the way with a classic old school range as if 1970 had never disappeared and plenty with love of the love for the generation of flower power will take to this one. Interesting, eventually, captivating, instantly, either way this is found good for a retro trip.

Apparently a tribute to some close friend by the name of Jorg Horner, the guy must have had a busy life to merit such elaborate musical depiction. - Dave Attrill / metalliville.com

This Austrian band has histroy since the early 1990s when band-leader Elmar C. Fuchs actually created the music of this CD together with fello musician Jörg Horner. Jörg was Elmar's mentor and this CD was originally released in 2008 as a tribute to Jörg, who died in 2004. This contemplative release has plenty of room for the acoustic side of retro prog (earliest Genesis, Jade Warrior perhaps). It has an artsy twist, particularily through the rather bewildering vocals which are frequently combined with a naive and basic approach to choruses that, for me, undermine the good songwriting and use of intruments that was evident in the verses. Well produced, clean and professional, but with niche appeal to those on the same wavelength as Herr Fuchs, I suggest. DP - Classic Rock Magazine, UK

This is a unique sounding release from this Austrian band. The vocals are very different than many artists within this genre. I find the closest similarities in tone and style to the Denton, Texas band Midlake. The deeper vocals and acoustic influences are apparent throughout this music. The music seems to be an attempt to differentiate and create a new genre from the tenor and higher vocal range bands of the past, aka Yes, or those that try to follow in their footsteps, aka Circa, Flower Kings, and Transatlantic. The first four songs are very acoustic driven. Then the "Iron Lady" enters to throw in some heavier guitars and drums. Then back to acoustics with some electric lead added from there on. The keyboards are very good throughout. The acoustic guitar work will help sell this album. It is wonderful.

My favorites include: "Chjong Nadah Boo, (In Vain)", "Eyes Like a Lioness", and "What You Mean to Me". They are wonderful with their acoustic guitar and echoed vocals. "Hymn to Brother Horn" is a spectacular instrumental opus befitting a wonderful tribute. The piano 'dirge' that follows includes more lighter than darker tones; in celebration of life, rather than morning death. If you like Fleet Foxes or Midlake you will most likely enjoy this album as well.

Great acoustic music for home. Unique sounding and a nice break from the popular music being released today.

Track Listing:

1. Yuri Soul of Light(Part One)
2. Paradise Lost
3. Chjong Nadah Boo
4. (In Vain)
5. Iron Lady
6. You Have Never Been Mine
7. Hymn to Brother Horn
8. Eloah (A Dirge for Brother Horn)
9. Father
10. The Human Legacy
11. Listen to Your Soul
12. Eyes Like a Lioness
13. What You Mean to Me
14. Yuri Soul of Light (Part Two)

Added: December 20th 2010
Reviewer: Mark Johnson - Sea of Tranquility

The Austrian band ELOAH has a history going back to the early 1990s when bandleader ELMAR C. FUCHS actually created the music of this CD ‘Ode to brother horn’ together with fellow musician JORG HORNER. It was Jorg who taught Elmar how to create music with a soul and in 2008 this CD was originally released, which is a tribute to Jorg, who sadly died in 2004. Musically speaking we are listening to high quality open-minded Progressive Pop/Rock. It does not rock hard or anything like that, but basically what you get is 14 well-written calmer Progressive Pop/Rock songs with a soul. It is very 1970s orientated, like early GENESIS, TEMPEST, JADE WARRIOR and a little JETHRO TULL, GENTLE GIANT and such calm acoustic tingled folksy prog. This one should go down well with the true progfans, because it is a very diverse and relaxing album that offers a lot of interesting song structures. It definitely keeps your attention from start to finish, so make sure to check out ELOAH at: www.eloah.art.net (Points: 8.2 out of 10) - Gabor Kleinbloesem - Strutterzine

ELOAH Ode To Brother Horn

Art-house prog, or New Age Rock. This project was recorded in the 90s and released two years ago, so quite why the PR company is working it now is as mysterious as the music.

From flute to new age rhythms, acoustic picking, vocal effects and occasional choir-like backing, and a guitar solo that hints at David Gilmour, and that's just the first track.

As you go through the album, there are bigger sounds, drifting vocals, tribal drums, strong guitar, there's a lot going on.

The lyrics are warm and there is lots of passion, the album is dedicated to vocalist Elmar Fuchs late friend Jorg 'Brother Horn' Horner. There are some wonderful moments, some good tunes, but the album is punctuated by parts that don't seem to fit or just drift by. ***

Review by Joe Geesin - Get Ready To Rock!

While not a new release, as it came out in 2008, Two Side Moon Productions is getting the word out about Ode To Brother Horn, "a breathtaking album for progressive rock fans. It is one of those albums that commands numerous plays to fully grasp the alluring music and musicianship, and then world of Eloah sinks in. We at TSM thoroughly adore this album particularly the track 'Chjong Nadah Boo' which is beautiful, deep and moody in the style of Marillion and one track all radio stations should pick up on.

"'Eloah is the musical project of Elmar C. Fuchs[,' Fuchs explains. ']It started 1993. Until now, several audio CDs have been recorded, comprising the input of many other musicians to whom I send heartily thanks for their contributions.

"'The biography of the Eloah project is best desribed by describing its results - the audio CDs:

"'2008: Ode To Brother Horn: Who is brother horn? Very seldom you find people with whom you can communicate without talking - with whom you feel spiritually compatible. Jörg Horner (Brother Horn) was such friend for me - a soul brother. We could make music for hours and hours, inspiring each other, not thinking of what we were doing, just letting the music flow out, thereby creating itself. The CDs Mondstein and Mondstein 2 - Ample Jazz are examples of that - this is heart blood music for me, it reaches deeply into my soul.

"'The music on this album was composed in the early 90s, a time, when we had a lot of fun together; a time, when I learned from him how to let myself fall into music. Although this music is somewhat different from what we created together, he was still my musical mentor at that time, listening carefully to each composition I proudly presented to him, planting the seeds of my musical evolution.

"'Jörg Horner is dead. My love for him lives. In order to honor his memory, I dedicate this album to him, to his widow and his daughter. I n my heart, he will live forever.'

"'...Mining the same musical territroy as Stomu Yamashta and Jade Warrior, Austrian artist-musician Elmar C. Fuchs is a new age master with a progressive-rock sensibility. (...) In the end, the overall affect is nothing short of enchanting. ... ' (14 of 16 points / Nick Tate, Progression Magazine)

"'... As a whole, Ode To Brother Horn is an enjoyable and innovative album that melds several distinct genres and sounds together. ....' (4.5 stars / Rukshan Thenuwara – MuzikReviews.com Staff)

"'...Ode To Brother Horn is well-produced, and the entire album sounds clean and professional. (...) Fans of new age and progressive rock should definitely pick this one up. ....' (Chris & the RadioIndy.com Reviewer Team)

"Band Line Up:

Elmar C. Fuchs - lead vocals, acoustic guitar
Peter Jaklitsch - electric guitar
Michael Lukas - electric guitar, bass
Ulrich Krispel - electric guitar
Roman Baier - electric guitar
Manfred Temmel - electric guitar
Hoimar Wotawa - bass
Vladimir Vesic - drums


1. Yuri Soul Of Light Part One
2. Paradise Lost
3. Chjong Nadah Boo
4. ????? (In Vain)
5. Iron Lady
6. You Have Never Been Mine
7. Hymn to Brother Horn
8. Eloah (A Dirge For Brother Horn)
9. Father
10. The Human Legacy
11. Listen To Your Soul
12. Eyes Like A Lioness
13. What You Mean To Me
14. Yuri Soul Of Light Part Two" - progressiveworld.net (TSM promotions)


ELOAH is a project from The Netherlands, mainly focused around musician Elmar C. Fuchs, who is originally from Austria, but somehow found his way into the northern part of The Netherlands. Although there’s some good quality musicianship to be heard here, it really feels like an independent CD release. The music is actually quite experimental and throws all kinds of styles together. The result is therefore a bit incoherent, however that does not mean it is not interesting, because we can hear here and there some great electric guitar (very good!) and keyboardwork, such as the New Age meets Prog instrumentalsound of “Fingers in the sky”. On the other hand, the bass and drum programming makes the overall sound a bit empty, but for a start ELOAH has released an interesting CD for people who like to hear a mix of ambient, new age, prog, gothic and rockmusic and even some ULTRAVOXish New Wave (“Somehow extraordinary”) … not easy to compare… so check it out at: www.eloah.at and e-mail at: elmar.fuchs@eloah.at

(Points: 7.2 out of 10)
- Strutter Magazine

Veel muziek kun je altijd wel draaien, maar er zijn uitzonderingen. Voor iemand als Dylan moet ik echt in de stemming zijn, en andere muziek kan ik alleen draaien als ik een uitstekend humeur heb en het niet te druk is. De muziek van de Oostenrijkse Eloah is zulke muziek. Zit ik niet goed in mijn vel, dan kan ik hier ontzettend sjagrijnig van worden. Maar voel ik me prima, dan kan ik genieten van alle kwaliteiten die deze muziek heeft.

Het is ietwat onclassificeerbare muziek die je op Silicon Rhythm hoort. Soms is het pure hardrock inclusief vervormde rauwe stem, soms is het jazzrock, en op andere momenten hoor je vrolijke pop. Nou ja, vrolijk. Zelfs bij het vrolijkste deuntje weet Eloah de muziek enigszins onheilspellend te laten klinken. Er is steeds een verontrustende ondertoon. Wat dat betreft weet het hoesje de sfeer die de muziek uitstraalt wel goed te benaderen.

Maar Eloah schrijft goede liedjes (hij zingt overigens het allergrootste deel in het Engels), en arrangeert zijn muziek fraai, waardoor je ook na een aantal draaibeurten nog nieuwe details hoort. Verontrustend en goed dus. Niet voor elk moment en niet voor iedereen, maar het blijft een intrigerend avantgardistisch album.

* Eloah - Silicon Rhythm - FHP 011075-2
- moorsmagazine.com

“Ode to Brother Horn” is a great new age/progressive album from Austrian musician Eloah fueled by poetic lyrics and excellent guitar and piano work. This is an inspired album, a grouping of songs from the early ‘90s that Eloah presented to his then-mentor Jörg Horner (Brother Horn) whose memory this album is dedicated to. Eloah’s arrangements are truly exceptional, ranging from new age tracks with flute and saxophone to beautiful piano ballads to outstanding acoustic and electric rock compositions to riff-driven hard rock. Eloah’s vocal performance has variety to it, but it is ever-haunting, whether he sings in his natural deep bass or in a quiet near-whisper. “Ode to Brother Horn” is well-produced, and the entire album sounds clean and professional. “Paradise Lost” features some great acoustic work, a nice drum beat, and a chilling vocal performance. “You Have Never Been Mine” has a great arrangement that begins with a nice acoustic guitar and drum progression, and is then matched by electric guitar and piano. “The Human Legacy” has a more progressive hard rock sound with heavy guitar riffs, a nice beat, and haunting vocals. Eloah has put together an album that would make Brother Horn proud, filled with skillful arrangements and poetic lyrics. Fans of new age and progressive rock should definitely pick this one up.

-Chris & the RadioIndy.com Reviewer Team - Chris & the RadioIndy.com Reviewer Team

Austrian musician Eloah dedicates his latest album to his late mentor and soul brother Jörg Horner, known affectionately as “Brother Horn.” The album is a collection of beautiful and rather haunting songs sprinkled with Eloah’s low bass voice floating above lush melodies and classic rock elements.

The second song off the record, “Paradise Lost” sounds like a melancholy hit with its sad yet poetic lyrics and stellar guitar arrangements while “Chjong Nadah Boo” introduces crashing drums and effervesant vocalizations that juxtapose Eloah’s soft singing only to then re-establish dominance throughout the chorus.
“Iron Lady” begins with such an enticing melody that it seems a shame that the artist takes the song in a different direction. So different in fact, that it ends up sounding like a mash up between death metal and acoustic rock acompanied by his dark and heavy vocalizations. “You Have Never Been Mine” on the other hand sounds strangely familiar to the Beatles except for injections of a gravely voice repeating “never ever” during the chorus.
Elsewhere, “Hymn to Brother Horn” is an instrumental track filled with electronic melodies fueled by heavy rock infleunces and “Eloah (A Dirge for Brother Horn)” is a soft piano ballad. To display his diverse use of instrumentation and elements, “Listen to Your Soul” is alike a Simon and Garfunkel tune mixed with jazz saxaphones and metal guitars. The result is catchy and engaging, a feat that is hard to pull off with such clarity and harmony.
The latter end of the record has a definite soft, melodic sound with Eloah singing in a hushed tone amongst seductive jazz saxaphone elements and guitar strumming like on the swaying “What You Mean To Me” and the equally mellow “Eyes Like a Lioness.” As a whole, Ode to Brother Horn is an enjoyable and innovative album that melds several distinct genres and sounds together. The only detractors to the album’s listenability are the handful of rather long tracks that would have worked better if they had been shortened, rather than adding on musical trains to finish.

Rukshan Thenuwara – MuzikReviews.com Staff - Rukshan Thenuwara – MuzikReviews.com Staff

Are you ready to take a musical journey that will have you captivated and mesmerized from the very beginning? Are you ready to open your mind to something new that will broaden your horizon on music? If you answered yes to these questions, then I present to you an artist community with many members collectively known as eloah. With a fusion of many different genres including New Age, Ambient, and Rock, their sound is successfully unique. One of the members behind eloah, Elmar, recently spoke to me in this in-depth and enlightened interview with our Webzine. Enjoy!

Isaac: How do you sum up 2008 for eloah?

Elmar of eloah: 2008 was an excellent year for eloah. After more about 3 years in the studio, I managed to complete our latest project: The recording of the (official) "first" album "Ode To Brother Horn" which was originally recorded in 1995 on a CD-R (which was brand new for us at that time). However, since the few copies of that era were sold quickly - and the live repertoire always contained two highlights of this CD, paradise lost and iron lady, the decision to present these songs (and all the others on this album) in decent quality also on a disc finally lead to a product we are proud of: "Ode to Brother Horn". There is also a very sad reason which encouraged me to make this CD extraordinary: My best friend Jörg Horner ("brother horn") unexpectedly died in 2004 - so I dedicate this album to his memory - and especially to his widow and his daughter.

Isaac: Expound a little about growing up in Leeuwarden, Netherlands.

Elmar of eloah: Well, actually I grew up in Klagenfurt, Austria, a small city with about 85,000 inhabitants (at that time) until the age of 14, when my parents moved to a neighboring village with only 3,000 inhabitants. I never really felt well there - it was too quiet, and I continued to see my friends back in Klagenfurt until the age of 19. Then I moved to Graz, another Austrian city with about 250,000 inhabitants, were I completed my studies - and lived until last September. It was in Graz were eloah was founded, where I met most of my fellow musicians and where we played most of our concerts. Actually, the CD "Ode To Brother Horn" is the last product of that era.

Isaac: Describe the music scene in Leeuwarden, Netherlands.

Elmar of eloah: Well, since I live there since last September, it is a little bit difficult to do. But there is one thing I found out: Although Leewarden is not really big (about 100,000 inhabitants); there are lots of small live rock/metal/alternative concerts - something I really enjoy. Unfortunately, since no fellow musician moved with me to the Netherlands, we had no possibility to play live here.

Isaac: What do you feel was your biggest accomplishment for 2008?

Elmar of eloah: That is, as I described in the sum-up for 2008, the production of the "Ode To Brother Horn" CD.

Isaac: Elaborate a little about whom were your biggest influences in the music industry and why?

Elmar of eloah: Here I can only speak for myself, not for my fellow musicians. This is important, because although I am responsible for composition and arrangement of the music, my colleagues are more or less completely free concerning their contribution - thus one might easily hear influences in eloah music which stem from one of my fellow musicians. For me, the influences seem quite dispersed: On one hand, I really love the Dutch singer Herman Van Veen, or the German singer Reinhard Mey. However, I am also a big fan of classic metal like Iron Maiden, Savatage, Manowar, Virgin Steele, Testament or - of course - old Metallica. Then, my favorite classical composer is Dimitri Shostakovich - the first Cello Concert, the 8th Symphony or the 8th String Quartet are my favorites. I have sometimes heard that eloah sounds a little like King Crimson. However, although I have been curious how this band sounds like, I do not consciously know any song of them. Perhaps I should buy an album one day.

Isaac: Let's talk about what you feel you will bring to the music industry?

Elmar of eloah: Details. And heart. Some of our fans say that they like eloah because it is heart blood music. When listening to new acts, I sometimes miss the heart of the music - or its balls, how my old friend and guitarist Peter Jaklitsch would put it.

Isaac: If you had an opportunity to work with one artist or group, who would it be and why?

Elmar of eloah: I would like to work with Herman van Veen - I admire his singing and violin playing skills, I adore his humor - and I think it would be fun.

Isaac: How would you describe your music to others?

Elmar of eloah: Singer/Songwriter music with rock, new age, metal and rare jazz elements.

Isaac: What is your definition for New Age/Ambient Music?

Elmar of eloah: Listening to broad synthesizer waves with birds or whales singing, music to relax, meditate - or to simply fall asleep.

Isaac: What type of feedback have you received from your previous releases?

Elmar of eloah: We received some nice reviews from the local street paper "Megaphon" in Graz for "the end of wisdom - a musitale" as well as for "Mondstein" and "mondstein 2 - ample jazz". The Dutch reporter Holly Moors wrote an equally nice review about "silicon rhythm" in her on- line magazine.

Isaac: What has been the inspiration behind your CD Ode To Brother Horn released in 2008?

Elmar of eloah: Oh, I summed that up as well in the first answer. Originally, I recorded this CD for "brother horn" (Jörg Horner) who was my musical mentor when I was a teenager - and my best friend. His sudden death in 2004, just after the idea of a new recording of this CD was born, turned it into something more serious for me then - a testimony for a great friend, who will live forever - in my heart.

Isaac: What can fans expect from your latest CD, you are working on currently? What is the inspiration behind the CD?

Elmar of eloah: In my never ending endeavor to expand the eloah diversity of style whilst sticking to its leitmotif, I am currently working on a project together with a electronic/DJ artist - next to a acoustic project with guitar, contrabass and voice only. In both cases, and mainly in the last one, fans will find typical eloah topics and melodies.

Isaac: Where can fans locate you at online?

Elmar of eloah: Fans can locate eloah at the official homepage, http://www.eloah.at, or at the eloah MySpace site, http://www.myspace.com/eloahmusic. A nice overview over all CDs is give at the eloah CD baby site, http://www.cdbaby.com/all/eloah - and on many more pages, most of which the official site links to.

Isaac: What can fans expect from eloah in 2009?

Elmar of eloah: In 2009, we have a few major projects: One is the production of two video clips (for "paradise lost" and "iron lady"), the shooting for which is already progressing; and secondly, the start of the guitar / contrabass project. And, of course, if the distance to my friends in Graz can somehow be overcome, some live shows.

Isaac: Time for some shout outs to your family, friends, and fans

Elmar of eloah: First, I would like to thank my fiancée Astrid for her kind support - and patience - during all the recording sessions in the past years. Then, of course, all my friends an supporters, most of all Michael Lukas, who has been enthusiastically and wonderfully contributing to the almost all CD projects - and Peter, Karin, Vladimir, Hoimar, Speedy, Roman, Maex... without you and your wonderful musical abilities, eloah would not have been possible. I send love to my parents, my sister and the rest of my family, and to my friends at Shindokan Dojo for their continuous support. And, last but not least, a big hug to all our fans.

Isaac: Final words from eloah…

Elmar of eloah: It has become a fashion today for musicians to point out that you do not make music for money, but for - well, here the big bands differ - the fans, the art, whatever. It is easy to say that when you are a well known artist and sell hundredths of thousands of CDs. After a history of 13 years where eloah certainly spent more in our great passion than we might ever earn with it, I think it is safe to say that money never was or will be our driving force. We are in the happy position of living good lives with good jobs we like. But we won't make music just to fulfill the wishes of anybody either. We like to express ourselves through music. The way we conceive our feelings and dreams. You are welcome to join.
- Isaac Davis Jr., MBA

Progression Magazin Nr. 58 (Fall 2009)

eloah - Ode To Brother Horn

TOTAL RATING 14 (of 16)

Mining the same musical territroy as Stomu Yamashta and Jade Warrior, Austrian artist-musician Elmar C. Fuchs is a new age master with a progressive-rock sensibility. Over the past 25 years, Fuchs (Eloah) has produced a handful of evocative releases merging Eastern and Western music in ways that suggest a kind of Transcendental Meditation. His latest offering, Ode To Brother Horn, is no exception.
Standout tracks a la "Paradise Lost" and "Listen To Your Soul" layer shimmering acoustic guitar flourishes over fluid piano, flute and synthesizer blends. The harder-rocking "Human Legacy" features a strong vocal performance and driving beat, yet maintains Fuchs' restrained, cathartic approach. The only real quibble here is Fuchs' limited vocal range. But he compensates by treating the singing - sometimes whispered, shouted, growled or spoken - to enhance his voice's depth and variety. In the end, the overall affect is nothing short of enchanting. - Nick Tate - Progression Magazine

Es gibt da einen lustigen Satz in "The End of Wisdom. A Musitale", der Musical-Produktion von Eloah - manische MusikliebhaberInnen rund um den Grazer Elmar Fuchs: "Look for God with your internet search machine!" Eben: Ende der Weisheit. Auch sonst hat "The End of Wisdom" Qualitäten, die kommerzielle Musicalproduktionen nur unter Einsatz von Millionenbudgets realisieren: eine prägnante Story - Held will Welt verbessern, stirbt. -, eine gehörige Portion Romantik und nicht immer perfekt sitzende Stimmen. Auch wir sind geneigt zu glauben: "For one day the dreamers will win" Info / Bestellung: www.eloah-art.net - Megaphon

Keinen Vergleich scheuen muss "Mondstein 2. Ample Jazz", die neue Produktion aus dem Umkreis des eigenwilligen Eloah-Do-it-yourself-Kollektivs. Und das aus dem einfachen Grund, weil sich auch diese Platte, ähnlich dem Musical-Vorgänger "The End of Wisdom" sowie das 2002 aufgenommene Album "Mondstein" mit zehn Low-Fi-Suiten in keinem bekannten Referenzsystem befindet. Ein vermutlich freier Strom von Flöten, Piano, Schlag- und Mundwerk. Unglaublich! Info: www.eloah-art.net - Megaphon


2015: Planet Zargo
2012: The Art of Loving
2008: Ode To Brother Horn
2007: Silicon Rhythm
2006: A Matter Of Time.
2004: the end of wisdom - a musitale
2004: Mondstein 2: ample jazz
2002: Mondstein
1998: just blood



eloaħ is the musical project of Elmar C. Fuchs. It started 1993.

2017: Fragile Mind & Heart of Glass (the end of wisdom)

This concept album is the most complex work of eloaћ so far. Comprising different story lines as well as philosophical views, the music is used to unify these elements into a sonic tapestry, a musical with rock- and chanson-like elements. It tells the story of a dreamer whose dreams reflect the passions and absurdities of our human existence. The music is sometimes mighty, sometimes weird, and sometimes really fragile.
Due to the tragic death of Jörg Horner and other adverse circumstances this project which was initially started in 2002 was not finished the way it was intended but released as a demo called "the end of wisdom - a musitale". The current concept-album "Fragile Mind & Heart of Glass" finally closes the story around the "end of wisdom", and represents the definitive realization of the original idea.

2015: Planet Zargo

The guys from planet Zargo are coming - to sing with us, to have fun with us - and to share a meal with us. Moreover, they bring wisdom to our world. With this album the eloaћ adventure continues, and this time it is wrapped around spiritual science fiction, expressed in terms of synthesizer and sequencer additions. Moreover, there is a new singer (Lila Herderberg), a new base player (René van Zonneveld), and new instruments are introduced to the listeners: Celtic harp and Chinese violin (“Erhu”). Not only those, but many other new elements substantially extend the musical space this time: "Mondstein"-type narrations (Dimanche Oublié) can be found next to typical eloaћ songs á la "sands of time" or the ecumenical hymn "ओं मणिपद्मे हूं" (Ommanipadmehom) and “Sons of Light”, an affirmation of life. There is also disco-metal (Planet Zargo, The Glint); there are excursions into Latin American music (Batida de Coração and Primavera), musical and comedy (Feast of Mind and Jabberwocky), rap (Quinto Center 2) - and calming, spiritual singer / songwriter music (grace, little prince). Although it is not a concept album, the science fiction motif reappears a couple of times, binding these rather different songs together within the positive, optimistic atmosphere they all share.

2012: The Art of Loving

'The Art of Loving' a typical eloah album, though – singer/songwriter based song structures with new age, rock and a few jazz elements, and nevertheless it widens the boundaries of eloah music: Instrumentation and arrangements are more broadly applied while at the same time the songs are shorter and more compact. Whereas it is not a concept album, the topics are somewhat interrelated by a single subject: Redemption. This seems to be the red line through this conglomerate of styles and stories, which, however, are connected on a deeper, less obvious level: There is a cry for redemption of all humankind (last day of earth, Armageddon) which naturally comprises redemption of the single person, both in a very serious way (too close, one last time) or seemingly funny and superficial (the fly, chocolate covered bear). We hear that most of us are spiritually still asleep (human kind blues), but are slowly waking up (awakening). Finally we learn that prayer and forgiveness (pray to them) will eventually lead to redemption through love – as we love our planet (Pacha Mama) and as she loves us (apostles, traitors and messiahs). And within this universal love (a holy yes, light) the personal love (my home, the art of loving) is dwelling, a fountain of infinite possibilities which can all become real (abrakadabra) once we have (and are) forgiven and have thus embraced redemption.

2008: Ode To Brother Horn

Who is brother horn? Very seldom, you find people with whom you can communicate without talking - with whom you feel spiritually compatible. Jörg Horner (brother horn) was such friend for me - a soul brother. We could make music for hours and hours, inspiring each other, not thinking of what we were doing, just letting the music flow out, thereby creating itself. The CDs "Mondstein" and "mondstein 2 - ample jazz" are examples of that - this is heart blood music for me, it reaches deeply into my soul.
The music on this album was composed in the early 90s, a time, when we had a lot of fun together; a time, when I learned from him how to let myself fall into music. Although this music is somewhat different from what we created together, he was still my musical mentor at that time, listening carefully to each composition I proudly presented to him, planting the seeds of my musical evolution.
Jörg Horner is dead. My love for him lives. In order to honor his memory, I dedicate this album to him, to his widow and his daughter. In my heart, he will live forever.

(more CDs are available)

Band Members