Review
Author & Musicians
About The StarBast
Holger Schmidt:
A Retrospective Review of The StarBast’s
Debut Album Eye of Bosch (1972)
"When the German rock scene began to bubble with new ideas and sounds, The StarBast released an album that instantly redefined the understanding of progressive music. "The Eye of Bosch", the band’s debut album, was a revelation and a challenge. For the band’s leader, Bastian Steppenwolf, it marked a departure towards more traditional rock, surprising many fans. But behind this "tradition" lies much more than meets the eye.
The album is built around the concept of the seven deadly sins, with each song serving as a metaphorical exploration of one of the darker aspects of human nature. The StarBast use this as a platform for the complex sonic architecture they are known for, which remains their signature style.
"Non-Gluttony," one of the album’s key tracks, immerses us in the symbolism of excess and greed. Here, hunger and thirst become not just physical needs but metaphors for inner demons. Lyrics such as "Sailing into hunger and thirst… tearing the sails apart…" captivate the listener, pulling them into a whirlpool of imagery, as if alluding to the tumultuous, symbol-laden paintings of Bosch himself. Eri McQuinby, the band’s vocalist, enhances the sense of mystery and inner conflict with her haunting, almost hypnotic whisper.
For Bastian, as the band’s leader, "The Eye of Bosch" represents a step away from his experiments with avant-garde and progressive rock. He sought to return to a more traditional song form, while maintaining philosophical depth and complexity. The musical structures here are less complicated but still filled with unusual solutions that make The StarBast so unique. At their best, the band explores the limits of rock without abandoning their intellectual core.
A defining feature of the album is its multilayered nature. Each song may seem simple at first glance, but upon closer listening, it becomes clear that the musicians are playing with melody and harmony in ways few others can. Bastian and Schwarz Viper run their guitars through various effects, creating an atmosphere of chaos and mysticism that suits the exploration of sin and temptation.
Musically, The StarBast reach new heights, employing unusual metric structures and abrupt transitions between song sections. In "The Sea Wolf," Klaus Liebster (Incubus) on drums plays on the edge of experimental rhythm, creating a sense of constant movement and instability. Hermann Schildkröte (Galapagos) on keyboards adds textural layers that seem to pulse, pushing the listener beyond conventional musical boundaries.
Though The StarBast deliberately distanced themselves from traditional charts and radio formats, their music has not lost its power or relevance. Their rejection of commercial appeal led to the creation of an album that was underappreciated by the general public but became a real discovery for those seeking more than mere entertainment in music. This is particularly significant in the context of 1972, when Germany’s rock scene was at a crossroads between psychedelic and progressive movements, with The StarBast at the forefront of these changes.
Each composition on "The Eye of Bosch" feels like a piece of a complex mosaic. Together they form a unified whole, but each song possesses its own unique texture and rhythmic dynamic. The band is unafraid to incorporate elements of jazz, avant-garde, and even classical music, which makes their sound complex and multifaceted.
"The Eye of Bosch" is an album that demands the listener’s attention and willingness to reflect. It’s not background music for a party —
it’s music that makes you think about the deeper questions of existence. The themes of sin presented in the album sound both ancient and modern, making it a timeless work.
The StarBast created something more than just an album. "The Eye of Bosch" is a sonic painting, reflecting human passions, vices, and aspirations. In 1972, this music sounded innovative and bold, and today it remains one of the most significant works on the German rock scene. This album will only be fully appreciated by those ready to dive into its multilayered worlds."
Diana Polenova, voice of the project:
"Rock isn’t just a guy with a guitar…
It’s a man with a question…"
"A question about the meaning of life, the nature of the universe, the system, and an eternal protest against all of it. It’s the voice of "against," not seeking a comfortable place in society, but aiming to break the system — not for profit, but for freedom. The StarBast became the symbol of this struggle. Their music is a search, a wandering, and a relentless drive to remain free.
Freedom is the key to their music. It’s freedom from norms, expectations, and the frameworks imposed by society. Hence all their restlessness, screams, trances, and experiments with consciousness. Their art is an alternative path, a spirit of rebellion, a rejection of conventional trajectories.
Did someone say rock music was made to order? Not for The StarBast. The muse whispered, and they followed her call. Their work was always more than just songs — it was a challenge, a manifesto. "We lay it down hard" because the fight against established order can’t be soft. It’s the path of those who find no peace. And as long as you breathe, you continue to defy.
Where did The StarBast come from, you ask? It wasn’t just a band — it was the voice of an era, emerging from the 1970s, when ideas of self-expression and rebellion captured the minds of youth. The band was born in those years when no one talked about "scaling up" or "business." They weren’t interested in self-improvement or money. They were recording messages, and we, years later, are still decoding, feeling, and understanding them.
The music of The StarBast once broke through the radio airwaves, forcing itself to be heard. They inspired us to seek out its traces, to reflect on it and recreate it. Album after album, despite the misunderstandings that surrounded them. But even then, when many didn’t grasp their sound, they found support among those who felt that restless energy of freedom.
The songs of The StarBast were written decades ago, yet they still sound relevant. The world changes, but their music remains a guide into a space where one can easily get lost. The most remarkable thing about their lyrics is that anyone can find their own meaning in them, experiencing them on a sensory level, without dissecting every phrase. It’s not just music — it’s a magic carpet that leads us in a direction we feel but cannot navigate.
The StarBast is a road in the cosmos, a flight, even when it seems strength is running out. And we continue this journey with them, because their music is our compass, even when the stars outside have lost their glow."
Alexey Mogilevsky, musician:
"In attempts to grasp the musical legacy of The StarBast,
one inevitably comes to the conclusion that it perfectly
fits the formula "the obvious — the incredible."
The obvious part was their craftsmanship: professional musicians trained at the Cologne University of Music, who excelled in harmonic knowledge, the principles of melodic construction, and the advanced arranging techniques of their time. Yet, this knowledge and talent allowed them to far outpace the tastes of the mainstream audience. However, today’s effort by Russian musicians, led by ND, to thoughtfully reinterpret and preserve their vast archive of recordings and manuscripts makes their work truly incredible — so significant and all-encompassing is the recreated legacy of the band, despite the 50 years that have passed.
Alas, it remains for a niche audience. Above all, for the same reason: their complex compositions were always inaccessible to the general public.
But that’s not the point.
Four classmates from the Cologne University of Music — Bastian Steppenwolf, Kœb Wilde, Hermann Schildkröte, and Klaus Liebster — joined by vocalist McQuinby from the art school and self-taught guitarist Schwarz Viper, composed their music easily and quickly, following the principle of "this is not the main thing."
"We are merely illustrating a multidimensional picture of the world, and music is just one of its facets. Everything lives inside: music, words, books, paintings, photos, films. Sometimes it’s a sphere, sometimes a cube, sometimes an infinite labyrinth," they would say.
But even though the creative process was fast, it didn’t mean the quality suffered. On the contrary, the band members possessed a deep foundation of knowledge and skills formed at the University of Music, which made their compositions difficult for the masses to understand. Their music was not intended for "dancing at festivals" — complex time signatures and profound lyrics were incompatible with superficial perception.
The band consciously stepped away from the race for charts and fame. They weren’t interested in festivals, radio stations, or television. They chose creative freedom, breaking free from the confines of the music industry.
For The StarBast, freedom meant the following:
— if the vocalist needed to sing high or low, she would sing high or low regardless. No one would transpose the key;
— guitarists and bassists had to seek unconventional solutions if traditional instruments couldn’t achieve the desired sound. They used unusual tunings, expanded the range of their instruments;
— if keyboardist Hermann couldn’t find the right timbre on a synthesizer, he used the piano or bought a new synthesizer (and his collection of synthesizers was legendary);
— every song had to contain a melodic structure that, despite consonance, necessarily included dissonant elements. The ratio of consonance to dissonance varied from 80/20 to 95/5. This also included free manipulation of the circle of fifths, where it was common to start with a nearly pop-like beginning only to suddenly modulate to a distant key, or even land in a randomly chosen new tonic;
— every composition had to feature a diminished fifth or augmented fourth — this "devil's" interval made the song elusive;
— avoiding march — like time signatures through frequent meter changes was another hallmark of their music, not only setting them apart but also highlighting their technical mastery;
— modulations, at least two, and at most three, were an essential part of their compositions. The transitions between them were unexpected and not prepared in a traditional manner, making their music especially unique.
This deliberate departure from the standards of the music industry provided The StarBast with inner creative freedom. They created music that transcended time and tradition, which is why it remains difficult to classify even today. Music critics were unable to clearly define their style, and the musicians themselves simply referred to it as "progressive with elements of…" — and that’s usually where the conversations ended.
Despite its complexity, every song by The StarBast bore the group’s unique signature, whether it was a vocal leap by a sixth or unusual musical flourishes. Their compositions remain a phenomenon in the world of music, one that is only beginning to be understood and reevaluated.
I won’t delve into analyzing all the technical details of their music — that’s a task for more knowledgeable theorists. But it’s important to highlight those aspects that, for me personally, made The StarBast a band that I love and understand, even if they weren’t obvious to most. And I believe that there will be more of us who appreciate and cherish this music.
A Retrospective Review of The StarBast’s
Debut Album Eye of Bosch (1972)
"When the German rock scene began to bubble with new ideas and sounds, The StarBast released an album that instantly redefined the understanding of progressive music. "The Eye of Bosch", the band’s debut album, was a revelation and a challenge. For the band’s leader, Bastian Steppenwolf, it marked a departure towards more traditional rock, surprising many fans. But behind this "tradition" lies much more than meets the eye.
The album is built around the concept of the seven deadly sins, with each song serving as a metaphorical exploration of one of the darker aspects of human nature. The StarBast use this as a platform for the complex sonic architecture they are known for, which remains their signature style.
"Non-Gluttony," one of the album’s key tracks, immerses us in the symbolism of excess and greed. Here, hunger and thirst become not just physical needs but metaphors for inner demons. Lyrics such as "Sailing into hunger and thirst… tearing the sails apart…" captivate the listener, pulling them into a whirlpool of imagery, as if alluding to the tumultuous, symbol-laden paintings of Bosch himself. Eri McQuinby, the band’s vocalist, enhances the sense of mystery and inner conflict with her haunting, almost hypnotic whisper.
For Bastian, as the band’s leader, "The Eye of Bosch" represents a step away from his experiments with avant-garde and progressive rock. He sought to return to a more traditional song form, while maintaining philosophical depth and complexity. The musical structures here are less complicated but still filled with unusual solutions that make The StarBast so unique. At their best, the band explores the limits of rock without abandoning their intellectual core.
A defining feature of the album is its multilayered nature. Each song may seem simple at first glance, but upon closer listening, it becomes clear that the musicians are playing with melody and harmony in ways few others can. Bastian and Schwarz Viper run their guitars through various effects, creating an atmosphere of chaos and mysticism that suits the exploration of sin and temptation.
Musically, The StarBast reach new heights, employing unusual metric structures and abrupt transitions between song sections. In "The Sea Wolf," Klaus Liebster (Incubus) on drums plays on the edge of experimental rhythm, creating a sense of constant movement and instability. Hermann Schildkröte (Galapagos) on keyboards adds textural layers that seem to pulse, pushing the listener beyond conventional musical boundaries.
Though The StarBast deliberately distanced themselves from traditional charts and radio formats, their music has not lost its power or relevance. Their rejection of commercial appeal led to the creation of an album that was underappreciated by the general public but became a real discovery for those seeking more than mere entertainment in music. This is particularly significant in the context of 1972, when Germany’s rock scene was at a crossroads between psychedelic and progressive movements, with The StarBast at the forefront of these changes.
Each composition on "The Eye of Bosch" feels like a piece of a complex mosaic. Together they form a unified whole, but each song possesses its own unique texture and rhythmic dynamic. The band is unafraid to incorporate elements of jazz, avant-garde, and even classical music, which makes their sound complex and multifaceted.
"The Eye of Bosch" is an album that demands the listener’s attention and willingness to reflect. It’s not background music for a party —
it’s music that makes you think about the deeper questions of existence. The themes of sin presented in the album sound both ancient and modern, making it a timeless work.
The StarBast created something more than just an album. "The Eye of Bosch" is a sonic painting, reflecting human passions, vices, and aspirations. In 1972, this music sounded innovative and bold, and today it remains one of the most significant works on the German rock scene. This album will only be fully appreciated by those ready to dive into its multilayered worlds."
Diana Polenova, voice of the project:
"Rock isn’t just a guy with a guitar…
It’s a man with a question…"
"A question about the meaning of life, the nature of the universe, the system, and an eternal protest against all of it. It’s the voice of "against," not seeking a comfortable place in society, but aiming to break the system — not for profit, but for freedom. The StarBast became the symbol of this struggle. Their music is a search, a wandering, and a relentless drive to remain free.
Freedom is the key to their music. It’s freedom from norms, expectations, and the frameworks imposed by society. Hence all their restlessness, screams, trances, and experiments with consciousness. Their art is an alternative path, a spirit of rebellion, a rejection of conventional trajectories.
Did someone say rock music was made to order? Not for The StarBast. The muse whispered, and they followed her call. Their work was always more than just songs — it was a challenge, a manifesto. "We lay it down hard" because the fight against established order can’t be soft. It’s the path of those who find no peace. And as long as you breathe, you continue to defy.
Where did The StarBast come from, you ask? It wasn’t just a band — it was the voice of an era, emerging from the 1970s, when ideas of self-expression and rebellion captured the minds of youth. The band was born in those years when no one talked about "scaling up" or "business." They weren’t interested in self-improvement or money. They were recording messages, and we, years later, are still decoding, feeling, and understanding them.
The music of The StarBast once broke through the radio airwaves, forcing itself to be heard. They inspired us to seek out its traces, to reflect on it and recreate it. Album after album, despite the misunderstandings that surrounded them. But even then, when many didn’t grasp their sound, they found support among those who felt that restless energy of freedom.
The songs of The StarBast were written decades ago, yet they still sound relevant. The world changes, but their music remains a guide into a space where one can easily get lost. The most remarkable thing about their lyrics is that anyone can find their own meaning in them, experiencing them on a sensory level, without dissecting every phrase. It’s not just music — it’s a magic carpet that leads us in a direction we feel but cannot navigate.
The StarBast is a road in the cosmos, a flight, even when it seems strength is running out. And we continue this journey with them, because their music is our compass, even when the stars outside have lost their glow."
Alexey Mogilevsky, musician:
"In attempts to grasp the musical legacy of The StarBast,
one inevitably comes to the conclusion that it perfectly
fits the formula "the obvious — the incredible."
The obvious part was their craftsmanship: professional musicians trained at the Cologne University of Music, who excelled in harmonic knowledge, the principles of melodic construction, and the advanced arranging techniques of their time. Yet, this knowledge and talent allowed them to far outpace the tastes of the mainstream audience. However, today’s effort by Russian musicians, led by ND, to thoughtfully reinterpret and preserve their vast archive of recordings and manuscripts makes their work truly incredible — so significant and all-encompassing is the recreated legacy of the band, despite the 50 years that have passed.
Alas, it remains for a niche audience. Above all, for the same reason: their complex compositions were always inaccessible to the general public.
But that’s not the point.
Four classmates from the Cologne University of Music — Bastian Steppenwolf, Kœb Wilde, Hermann Schildkröte, and Klaus Liebster — joined by vocalist McQuinby from the art school and self-taught guitarist Schwarz Viper, composed their music easily and quickly, following the principle of "this is not the main thing."
"We are merely illustrating a multidimensional picture of the world, and music is just one of its facets. Everything lives inside: music, words, books, paintings, photos, films. Sometimes it’s a sphere, sometimes a cube, sometimes an infinite labyrinth," they would say.
But even though the creative process was fast, it didn’t mean the quality suffered. On the contrary, the band members possessed a deep foundation of knowledge and skills formed at the University of Music, which made their compositions difficult for the masses to understand. Their music was not intended for "dancing at festivals" — complex time signatures and profound lyrics were incompatible with superficial perception.
The band consciously stepped away from the race for charts and fame. They weren’t interested in festivals, radio stations, or television. They chose creative freedom, breaking free from the confines of the music industry.
For The StarBast, freedom meant the following:
— if the vocalist needed to sing high or low, she would sing high or low regardless. No one would transpose the key;
— guitarists and bassists had to seek unconventional solutions if traditional instruments couldn’t achieve the desired sound. They used unusual tunings, expanded the range of their instruments;
— if keyboardist Hermann couldn’t find the right timbre on a synthesizer, he used the piano or bought a new synthesizer (and his collection of synthesizers was legendary);
— every song had to contain a melodic structure that, despite consonance, necessarily included dissonant elements. The ratio of consonance to dissonance varied from 80/20 to 95/5. This also included free manipulation of the circle of fifths, where it was common to start with a nearly pop-like beginning only to suddenly modulate to a distant key, or even land in a randomly chosen new tonic;
— every composition had to feature a diminished fifth or augmented fourth — this "devil's" interval made the song elusive;
— avoiding march — like time signatures through frequent meter changes was another hallmark of their music, not only setting them apart but also highlighting their technical mastery;
— modulations, at least two, and at most three, were an essential part of their compositions. The transitions between them were unexpected and not prepared in a traditional manner, making their music especially unique.
This deliberate departure from the standards of the music industry provided The StarBast with inner creative freedom. They created music that transcended time and tradition, which is why it remains difficult to classify even today. Music critics were unable to clearly define their style, and the musicians themselves simply referred to it as "progressive with elements of…" — and that’s usually where the conversations ended.
Despite its complexity, every song by The StarBast bore the group’s unique signature, whether it was a vocal leap by a sixth or unusual musical flourishes. Their compositions remain a phenomenon in the world of music, one that is only beginning to be understood and reevaluated.
I won’t delve into analyzing all the technical details of their music — that’s a task for more knowledgeable theorists. But it’s important to highlight those aspects that, for me personally, made The StarBast a band that I love and understand, even if they weren’t obvious to most. And I believe that there will be more of us who appreciate and cherish this music.
