eloaћ is a musical project coordinated by Elmar C. Fuchs. It started 1993. In the above image, from left to right, we see Orion Roos (electric guitars), Elmar C. Fuchs (vocals, guitars, piano), Johan van der Meer (drums and percussion) and Peter Douwenga (bass guitars). Additional project members are Dominik Mittergradnegger (saxophone, violine) and Lila Herderberg (vocals). Band photography © Rob Meijer.


2023: Proud to Love You.

The fourteen songs on this album were inspired by the different emotions around romantic love - from ecstasy to agony, from serenity to heartache, but with a clear bias on the pleasant aspects. Isn't love what makes our existence worthwhile? Isn't it worth all the suffering, waiting, fear and despair that often accompany the experience? Isn't it true that we can do anything, endure anything and be anything if we do it in the name of / or with the power of love? And, most importantly: Isn't it heaven on earth when it (finally!) works out? Especially the last question is embedded in most of the songs which can carry us deeply into the realm of the heart – we just need to allow them to enter.


2022: The Mondstein Chronicles Part 1 - Awaken the Gods

The Mondstein Chronicles are based on clips from free improv sessions of piano, drums and vocals. They are like descriptions of the feeling of the moment, music that wrote itself, expressed through the intimate atmosphere and coherent liaison of the three core musicians, and extended and intensified by the additional instruments. Basic song structures are mostly replaced by wave-like developments, taking the listener onto a journey through the spiritual realm. This album is the origin, it is based on the first improvisations Elmar C. Fuchs and the late Jörg Horner, many years later enhanced with drums, female vocals and electric guitars, and classically orchestrated.


2020: The Mondstein Chronicles Part 2 - Ample Jazz

The Mondstein Chronicles are based on clips from free improv sessions of piano, drums and vocals. They are like descriptions of the feeling of the moment, music that wrote itself, expressed through the intimate atmosphere and coherent liaison of the three core musicians, and extended and intensified by the additional instruments. Basic song structures are mostly replaced by wave-like developments, taking the listener onto a journey through the spiritual realm. This album, in contrast to the previously released third part, focuses less on lyrics but more on the dreamy atmosphere and jazzy German flute solos.


2019: The Mondstein Chronicles Part 3 - Wood & Bone

The Mondstein Chronicles are based on clips from free improv sessions of piano, drums and vocals. They are like descriptions the feeling of the moment, music that wrote itself, expressed through the intimate atmosphere and coherent liaison of the three core musicians, and extended and intensified by the additional instruments. Basic song structures are mostly replaced by wave-like developments, taking the listener onto a journey through the spiritual realm.


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

This album widens the boundaries of eloaћ 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, nicely fit together 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 (אברא כדברא) 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 honour his memory, I dedicate this album to him, to his widow and his daughter. In my heart, he will live forever.

2007: Die Sternenhafte (spoken word / double CD demo only)
2006: A Matter Of Time (demo only)
2004: the end of wisdom - a musitale (demo only)
2003: Mondstein 2: ample jazz (demo only)
2002: Mondstein (demo only)
2000 / 2007 / 2009: Silicon Rhythm (demo only)

1998: just blood

Just blood... heart blood. This CD contains chanson music with rock, new age, pop and little jazz elements, but one thing is clear: every track is filled with heart, with emotion. The outcome sounds like acoustic rock music filled with love for details. The CD "just blood" combines the rock elements of the guitarsist p. jaklitsch (peter jackson) with the dark, severe chanson-music of e.c. fuchs, not to forget the jazz-like drumplay of d. gösseringer, which rounds the CD to a true speciality.



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Award for the CD "Ode to Brother Horn"

Sunday, January 18, 2009. "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 and the Reviewer Team Posted by RadioIndy at 8:03 PM

Ode to Brother Horn:

Rukshan Thenuwara - Muzik
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 – Staff November 8, 2009

Ode to Brother Horn:

Nick Tate - Progression Magazine issue 58 (fall 2009)
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

Ode to Brother Horn:

Joe Geesin - Get Ready To ROCK! 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.

Ode to Brother Horn:

Gabor Kleinbloesem - Strutterzine
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: (Points: 8.2 out of 10)

Ode to Brother Horn:

The record starts with some odd Japanese woman which is talking about something you don´t understand. And then the record starts with a song which makes me think of some old 70´s movie in westernstuyle or something similar with it´s flute which is whisteling on. When the record then is on I got a little bit of different feelings and I think about bands like Jethro Tull, Mike Oldfield, fairytyles and old progressive music from Sweden. Really cool actually but it´s a little bit hard to understand. But does this sound interesting so check it out for god´s sake. 6/4-2011

Ode to Brother Horn:

Tony -
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 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 and 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.), 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 of 100 points.

Ode to Brother Horn: Mark Johnson, Sea of Tranquiliy
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. Score: 3 stars

Ode to Brother Horn: Pawel 'Gnom' -MetalCentre
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 and 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

The Art of Loving:
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 and 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! Anspieltipps: "Armageddon", "The Art of Loving", "The Fly" 5/7 Punkten

Planet Zargo: Gerrit Jan De Wit
ELOAH - Planet Zargo ( Big Bad Wolf Productions) genre : Symfonische Rock
Ik kreeg een tijdje geleden een 3 tal cd's toegestuurd van Elmar C. Fuchs de drijvende kracht achter het project Eloah .. Maar helaas Planet Zargo past eigenlijk alleen maar in deze pagina met zijn mengeling van Symfonische Rock die zich moeilijk laat plaatsen. Op PZ horen we ook Meastro's Orion Roos die het album van melodie verzorgt The Glint bv is een heerlijk zelfs dansbaar nummer ( videoclip) en hoor ik wel elementen van Rockmuziek die richting Jim Steinman gaan terwijl de zang mij wat aan Mark Knofler ( Dire Straits) doet denken.. Ook voor liefhebbers van Roger Waters bied Planet Zargo het nodige.. Het album is bij vlagen soms commercieel maar laat zich niet in een hokje stoppen. 16 nummers die geen hetzelfde lijken. Uitschieters vermeld ik niet maar Wind Trough a Keyhole of time is toch wel één van mijn favoriete tracks naast The Glint.. Voor meer informatie omtrend Planet Zargo en andere cd's op Facebook Elmar C Fuchs


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Bei direkten oder indirekten Verweisen auf fremde Webseiten ("Hyperlinks"), die außerhalb des Verantwortungsbereiches der Eigentümer und des Webmasters liegen, würde eine Haftungsverpflichtung ausschließlich in dem Fall in Kraft treten, in dem die Eigentümer und der Webmaster von den Inhalten Kenntnis haben und es ihnen technisch möglich und zumutbar wäre, die Nutzung im Falle rechtswidriger Inhalte zu verhindern. Die Eigentümerund der Webmaster erklären hiermit ausdrücklich, dass zum Zeitpunkt der Linksetzung keine illegalen Inhalte auf den zu verlinkenden Seiten erkennbar waren. Auf die aktuelle und zukünftige Gestaltung, die Inhalte oder die Urheberschaft der gelinkten/verknüpften Seiten haben die Eigentümer und der Webmaster keinerlei Einfluss. Deshalb distanzieren sie sich hiermit ausdrücklich von allen Inhalten aller gelinkten /verknüpften Seiten, die nach der Linksetzung verändert wurden. Diese Feststellung gilt für alle innerhalb des eigenen Internetangebotes gesetzten Links und Verweise sowie für Fremdeinträge in von den Eigentümer und vom Webmaster eingerichteten Gästebüchern, Diskussionsforen und Mailinglisten. Für illegale, fehlerhafte oder unvollständige Inhalte und insbesondere für Schäden, die aus der Nutzung oder Nichtnutzung solcherart dargebotener Informationen entstehen, haftet allein der Anbieter der Seite, auf welche verwiesen wurde, nicht derjenige, der über Links auf die jeweilige Veröffentlichung lediglich verweist.

3. Urheber- und Kennzeichenrecht

Die Eigentümer und der Webmaster sind bestrebt, in allen Publikationen die Urheberrechte der verwendeten Grafiken, Tondokumente, Videosequenzen und Texte zu beachten, von ihm selbst erstellte Grafiken, Tondokumente, Videosequenzen und Texte zu nutzen oder auf lizenzfreie Grafiken, Tondokumente, Videosequenzen und Texte zurückzugreifen. Alle innerhalb des Internetangebotes genannten und ggf. durch Dritte geschützten Marken- und Warenzeichen unterliegen uneingeschränkt den Bestimmungen des jeweils gültigen Kennzeichenrechts und den Besitzrechten der jeweiligen eingetragenen Eigentümer. Allein aufgrund der bloßen Nennung ist nicht der Schluss zu ziehen, dass Markenzeichen nicht durch Rechte Dritter geschützt sind! Das Copyright für veröffentlichte, von den Eigentümer und/oder vom Webmaster selbst erstellte Objekte bleibt allein bei den Eigentümer und/oder dem Webmaster der Seiten. Eine Vervielfältigung oder Verwendung solcher Grafiken, Tondokumente, Videosequenzen und Texte in anderen elektronischen oder gedruckten Publikationen ist ohne ausdrückliche, schriftliche Zustimmung der Eigentümer und/oder des Webmasters nicht gestattet.

4. Datenschutz

Sofern innerhalb des Internetangebotes die Möglichkeit zur Eingabe persönlicher oder geschäftlicher Daten (Emailadressen, Namen, Anschriften) besteht, so erfolgt die Preisgabe dieser Daten seitens des Nutzers auf ausdrücklich freiwilliger Basis. Die Inanspruchnahme und Bezahlung aller angebotenen Dienste ist - soweit technisch möglich und zumutbar - auch ohne Angabe solcher Daten bzw. unter Angabe anonymisierter Daten oder eines Pseudonyms gestattet. Die Nutzung der im Rahmen des Impressums oder vergleichbarer Angaben veröffentlichten Kontaktdaten wie Postanschriften, Telefon- und Faxnummern sowie Emailadressen durch Dritte zur Übersendung von nicht ausdrücklich angeforderten Informationen ist nicht gestattet. Rechtliche Schritte gegen die Versender von sogenannten Spam-Mails bei Verstössen gegen dieses Verbot sind ausdrücklich vorbehalten.

5. Rechtswirksamkeit dieses Haftungsausschlusses

Dieser Haftungsausschluss ist als Teil des Internetangebotes zu betrachten, von dem aus auf diese Seite verwiesen wurde. Sofern Teile oder einzelne Formulierungen dieses Textes der geltenden Rechtslage nicht, nicht mehr oder nicht vollständig entsprechen sollten, bleiben die übrigen Teile des Dokumentes in ihrem Inhalt und ihrer Gültigkeit davon unberührt.