Oliver Ganz thrEEEvolutions Play Sample:   56K Dialup   Broadband   Download Sample:   500K   1.5Mb (Excerpt from track(s) 'While He Rested')

The first track on Oliver Ganz's latest opus is entitled 'The Creation Of Heaven and Earth' and you can't accuse the man of avoiding the big issues as each 'E' is designated a cluster of tracks such as 'The Big Bang' and 'From Gills to Lungs'. Ganz's take on these subjects is a little unclear but I'm not too concerned as the music is impressive.

Like the last album I reviewed, the first track uses narration, this time in English and it's the creation of the heavens and the earth and the agenda is laid out before us. Ganz clearly likes his concept electronica as the last album was an excursion through a brain. It would be a shame if listeners were put off by the narration on the opening cut as the vast majority of the offerings here feature instrumental music of high quality.

'The Holy Seventh Day' starts in suitably subdued fashion before a melodic sequence and percussion with a strong backbeat take over. Melodic colour is added, some light and shade, signature key changes and added sequencing and it is all pretty restrained and subtle but holds your interest throughout the 8.23 minutes. Cross fading into the more ambient 'While He Rested' Ganz lowers the tempo but it does not take long for the sequencers to appear as the piece gathers pace and before you know it he hits us with a more anthemic direction and adds some progressive, high register, keyboard solos. 'The Big Bang' begins gently enough with some melodic piano work, with choir accompaniment and then a strong beat changes the atmosphere of the track into a more strident uptempo mood which is enhanced by the addition of some fine guitar work after the 6 minute mark. 'From Gills to Lungs' deploys sequencers set against a slow unwinding melody with echoed percussion, and I guess the overall effect reminds me of errrrr, fish emerging from the sea in an air breathing scenario. It all sounds a bit Dr Who but hey I like Dr. Who. 'Anastomosis' is a more gentle, lyrical piece with piano and melodic flute-synth before a strong beat is added to the mix and Ganz raises the tempo. The pan-pipe sound give it an ethnic flavour and again the track has an anthemic tone.

'Life Will Always Find Its Way' begins with aquatic effects, with a few mating calls from assorted creatures and Ganz's slow, melodic, synthesiser stylings before the hypnotic sequencers are introduced with the inevitable drums and the occasional 'East Enders' percussion flourish. (I'm not getting too technical am i?). Overall, it is a very pleasant instrumental and Ganz changes pace to avoid boredom setting in. Onto 'The Launch Of Voyager 1' which features Lita Ganz on flute and the template remains pretty much intact. Sequencers, exapansive backdrops, percussion and slightly eccentric electronic effects and guitar-like sounds with changes in tempo thrown in. 'Miriam, Singing Synthesis' opens with Ganz very much in eccentric mode with what sounds like the soundtrack to a child's computer game but gradually things settle down and Ganz hits us with a fine, commercial melody not unlike Jarre at his most accessible. Then, after a pause, the voice of Miriam, a singing software computer programme(don't ask!) does not do the track too many favours. However, it is a fine melody and sounds not unlike one of Mike Oldfield's better songs. I confess I much preferred the instrumental section. Finally, 'What Comes Next' is a wind down after Miriam and succeeds to close the album whilst reminding us that Ganz is more than a respectable tunesmith.