3 Evolutions: Universe - Life - Electronic

Oliver Ganz - thrEEEvolutions
(2005, SynGate CD-R 2056)

Synth Music Direct (UK)

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.
Thus ends 'ThrEEEvoultions' and overall its an enjoyable trip. Ganz's work appears to me a tad eccentric as the sleevenotes, written by Miriam the software programme(who else?) testify, '......oooh babe, come give me more-can't get enough, I do adore the creativity of you....' Well errr quite. If you like melodic, mainly uptempo electronica, Ganz may be your man. I have to say of all the albums by new artists I've reviewed recently, he certainly has the most character and has the potential to make a killer album, providing he keeps Miriam in storage. Do not be put off by the eccentricities 'thrEEEvolutions' is a gOOd album and well worth inVESTigating. Sorry it must be catching. (SR)

Steve Roberts, 2005

Guts Of Darkness (CAN)

If you liked Dance of the Arpeggiators, you will adore ThrEEEvolutions from Oliver Ganz. And if you don’t know Oliver Ganz yet, let me tell you that you miss something. On a shade atmospheric background, the German synthesist narrates the steps of Genesis.
Whereas the unfolding of The Creation of Heaven and Earth finishes, the first keys of ThrEEEvolutions tinkle in our ears. In suspension, they float in a static universe where ethereal flutes waltz on a hypnotic hymn which is worked on pulsations which answer its echo. It is with this refrain, at time minimalism and hooking that The Holy Seventh Day opens the ball of creation to be melted with the light piano of While He Rested. Cleverly, Oliver Ganz installs its sound structure. The keys are fattier and drone with resonance on a circular synthetic headlight. The rhythm increases on a bass and juicy sequence. Becoming more nervous it lifts the air on great percussions moves which initiate synth solos which tear off the air as they are so strident. Always propelled by glares of percussions these solos amalgamate with sonorities of electric guitars on a wildest sequence. Outstanding moments, this is compressed dynamite, nothing less. Halfway through rock, symphonic prog rock, and, of course, EM. 
This first portion of ThrEEEvolutions (3 E because the author sees the evolution in 3 types; religion, biological and technical) accurately reflects the musical structure which reigns over the whole adventure. It’s necessary to have sharpened ears here, because the keyboard whiz kid plays with rhythms, as he has fun triturate his sonorities to our complete amazing. The Bing Bang intro plunge us again in a static atmosphere where a soft piano walks its hope on one waltzing synth which mould more austere movements. Splendid, chorus form an opaque line feed by big violin strings. The track takes a more symphonic rock aspect with its percussions which run a rhythm supported by heavy sequence, pierced by superb solos that split the heart. Guitars, virtual, and synthesizers forge a rock'n'roll harmony, supported by an absolutely brilliant synthetic choral, showing an innate sense of details on Oliver Ganz. The adventure continues with From Gills to Lungs, another symphonic title where the author holds us on breathe with his constant musical change of directions or anticipating rhythms on awesome atmospheric blows. Anastomosis brings us back in the heat of a more flexible orchestral movement, pouring a little in the panpipes which popularized New Age. Soft moments that will turn into more rhythm in the second portion. Life Will Always Find Its Way and The Launch Of Voyager 1 continue the orchestral and symphonic movements, present since the all beginnings. With Miriam, Singing Synthesis, Oliver Ganz use a new technique of Vocoder conceived by him; Vocaloid Miriam. On a lighter rhythm, keys fly on fluid sequences. Always untameable, the tempos follow one another until the introduction of Vocaloid which sings with an imposing presence more human than mechanicon a beat which becomes animated more and more, under the solos of the virtual guitar. Daring, Ganz is not afraid to shock the purists by mixing sonorities of more conventional instruments with its synthetic nobilities. Per moment, we would believe to hear the big orchestrations mania of Rick Wakeman, so much the sound is rich.
What Comes Next? completes this marvellous opus with an atmosphere impressed of hope, behind a fog of bitterness, nostalgia supported by a superb flute, semi pan semi clarinet. The effect is sublime and is the faithful reflection of all the sensitivity which hides behind this powerful and quite simply majestic opus.
ThrEEEvolutions, just like Dance of the Arpeggiators by the way, is impossible to circumvent in this sphere which is EM, New Berlin School style or melodic, or up beating. Call it whatever you want, as a musical style, it’s not so important. The main thing here is the name of Oliver Ganz. A new comer that already charmed EM scene with two great titles. ThrEEEvolutions is a super melodious cd, fill with musical directions, orchestrations, rhythms and super solos that leave the listener breathless. What else could you ask for?

Sylvain Lupari, 2006