Oliver Ganz Phases of Death Play Sample:   56K Dialup   Broadband   Download Sample:   500K   1.5Mb (Excerpt from track(s) 'Phase 3 (track 8)')

Mmmmm.... I can't remember when my first impressions have been so wrong. First, there is the title not a very promising start and the cover art of a brain does not inspire too much confidence. All the sleeve notes are in German so I can glean little from them. The tracks are all linked into 5 Phases of Death and the first track opens with a thunderstorm and frenetic dialogue (in German), I can only assume someone has entered the first Phase of Death but the electronic soundtrack is not without interest already and only lasts for a couple of minutes. So we pass into Phase 2, Track 2, from now on I shall refer just to the track numbers. The second piece calms down considerably with a melodic sequence and a wonderfully evocative, warm melody is followed by spoken female vocals and some tasteful guitar.

At around the 1.50 mark there is a rush of sound resembling a scream and a change of tempo follows with faster rhythms and a bright, melodic, lead synth which is joined by some fine melodic guitar which explodes into the mix at the 3.40 mark. Unpredictably after 5 minutes there is a brief rush of melodic sequencing which subsides to reveal a detailed mix with a few spoken vocals before we return to the earlier splendid motif which is reprised as the track is stripped down to the basic sequence. Now I'm not a fan of the lazy comparison as they can mislead but as I listened to this album I couldn't quite work out which classic EM artist this album reminded me of, especially on this track, then it suddenly came to me. Mark Shreeve, and yet it is not an obvious comparison, but the quality of the melodic synth lines definitely resonate with Mark's earlier solo albums. Cross fading into track three a dramatic sequence begins promisingly with phased electronics drums and voices and at the 2.16 mark a subdued synth melody is followed by a big, bright, anthem.

Good dynamics add to the impact of the big tune and we return to the opening sequence with some added arpeggios and a touch of organ and then an excellent guitar solo climaxes with the main melody. Another first class piece. Track 4 begins with piano and proggy synth with phased electronics and strings used as a backdrop but here the melody is not as convincing as on previous outings but the piece only lasts for just over 3 minutes before cross-fading into the fifth track which builds after a slow start into a fest of frantic and bubbling sequencers set against more stately strings. Again, it is an unusual but intoxicating brew with some Hawkwind-like electronic treatments giving it a retro feel. Track 6 sounds more contemporary with more sequencing and epic Fox-like strings, (what the heck let's use more comparisons), but as is the case with the whole album there is a sense of abandon and eccentricity here and generally it pays off, death apparently is never dull. Track 7 has some unusual treatments before brief snatches of TD flourishes tantalise before the voices make a very brief and unwelcome appearance, but thankfully the piece settles into instrumental mode with more powerful sequencing and descending TD- like chords . Track 8 opens with eccentric sequencing set against more conventional string sounds and melodic piano but here the sequence spoils things a little and the soloing does not quite cut the mustard but the guitar and added strings save the day.