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Summary Review
Although my German is not very good - OK, non-existent really - I can get the idea of the CD's theme. Creation, seven days etc. Listening to the music with this in mind can evoke the right sort of images, except for the brief Spaghetti Western interlude that I just couldn't shake off at one point.
Overall the feel is very atmospheric, any sequencer work is fairly simple but effective. The lead lines are also fairly gentle, this is definitely not high-energy EM. The CD does reward careful listening, although for me the high points don't last long enough. There is always a measured build-up with gentle sequencing and, although most tracks do merge into each other, I feel there could have been a bit more development between tracks, perhaps with the sequences handing over to each other, rather than almost starting again. What this does give to the CD is a feeling of development as the tracks do link into each other - this is probably the desired effect judging by the subject matter. The final track gives a most pleasant surprise courtesy of Detlev Wabner letting rip with a bit of rock guitar.
My overall impression is of a CD that would reward a second listening, although it was good the first time. My only gripe would be that the music isn't "hard" enough. The sequences are very nice, the lead lines very well-tailored to the overall feel and the pads very, well pad-like really. All the sounds are well-chosen and it all fits together nicely to produce a CD that sounds very enjoyable. Maybe it just needs some lunatic letting go with the lead sounds a bit more often.
The bottom line, buy it if you like music that develops in a gentle manner. If you like the Pickford-style of ripping forth (!!) maybe leave it alone for a while. This is perhaps what Mario would describe as "Picture Music - A soundtrack for your mind." Graham Getty, when reviewing this CD for SMD (Issue 17), used the following phrase, "Some sections are so good that if they appeared on a Glynn Lloyd Jones new release I wouldn't be disappointed." I stole this phrase wholesale so as to offer a signpost for those lost in my waffling.
My personal bottom line, I'm certainly glad I bought it and I shall be giving it another listen soon.
Track By Track Review
1. Es Werde Licht.
A very ethereal start, lots of long pads drawing slowly towards chord movement. Gives rise to a well-structured soundscape with a slow melody evolving from the sounds. The end leads directly into the next track with some deep thunderous rumblings.
2. Der Himmel.
Again a slow build with lots of pads working away in the background, soon joined by some nice resonant sweeps and a string sound taking the lead. A slow lead-line emerges once more, almost like a slow Kitaro-style piece from the Silk Roads era. After some four minutes the first sequencer work appears, very basic but quite effective. This does not develop into any formal melody, but keeps building on the ambience.
3. Die Meere.
A blast of noise sees off track 2 and brings in track 3, and with it a new more syncopated sequencer line. After a couple of minutes the sequencers start to fire up and a multi-layered line is built up. Now things are starting to heat up - for me at least. The chord changes still remind me of a Kitaro song, but the sequencer lines are much stronger.
4. Die Pflanzen.
The first break in the music for the start of this track. Some nice effected piano sounds bring in this track, developing the track slowly, these are replaced by some nice random sample and hold style noises.
5. Der Kosmos.
More ambience leads this track in, slowly evolving pads with some nice sound effects as the track develops. At just over three minutes the sequences develop, once more emerging from the background and once again fairly simple but effective affairs. A gentle lead line eases in after a few minutes more.
6. Die Planeten.
Again another smooth transition from the preceding track. The start has some nice sweeps leading more quickly than before into some sequencing. This time it is a faster more urgent sequence with some machine percussion adding to the overall beat. This is the most lively the CD has got so far. Then just as quickly as it appeared the sequence disappears to be replaced by another after brief piano interlude. Now the CD is starting to rock, all we need now is a good strong lead line. Yes it does start to get delivered after another minute or so. For my ears it crys out for some screaming modulated-to -hell twisted lead work. Obviously that wasn't what he wanted though - perhaps my roots are showing.
7. Die Tiere.
Some nice choir sounds replace the best bit of sequencing so far. This has a very nice ethereal feel to it. The samples/programs have been well matched with the high and low voice parts being well within their respective ranges. Slowly another sequence begins to build, again it's not overly complicated - more of an arpeggiated section really. I have to admit that the combination of voices with ambient bells ringing brings those Spaghetti Westerns to mind, you know the one with the pocket-watch where they circle each other for a while. Some harder sequencing broke me out of my day-dream of Clint, Eli and Lee.
8. Der Mensch.
Again some nice atmospherics, this time only lasting a minute before the sequencing starts. And what sequencing, this I like. A nice syncopated rhythm built up between machine percussion, great sounds and some delay. The percussion does get quite energetic on this track, leading into a very nice lead line played with a very pure tone. After a developing interlude the music does start to really take off, the percussion, sequences and main theme really starting to work together. Maybe less is more in this case, it does sound good.
9. Die Vollendung.
This comes after one of the few breaks in the music, some heavy organ leads into more machine percussion and sequencing. A very pleasant tune emerges. Hold on, what the Hell is going on here, there's an electric guitar letting rip. Oops, sorry about the Hell bit, but I got a bit carried away. Yes, finally there's been some gratuitous lead work.