Track 3 from "It Was Good" — a concept album based on Genesis 1.

"Let there be an expanse between the waters." (Genesis 1:6)

Deep house meets creation. Moog Subsequent 37 driving bass, UDO Super 6 pads and lead, Wavetable plucks, BBCSO strings. The track literally ascends — from underwater pulse to open sky.

108 BPM | D major

Ophanael — Wheels within wheels.

The Firmament

Track 4 from "It Was Good" — a concept album based on Genesis 1.

"Let the water under the sky be gathered to one place, and let dry ground appear." (Genesis 1:9)

UDO Super 6 and Moog Subsequent 37 heavy. Funky, uplifting, physical. The earth pushes up through the water — syncopated bass lines, dancing lead melodies, the joy of solid ground underfoot.

112 BPM | D major

Ophanael — Wheels within wheels.

Dry Ground

Track 5 from "It Was Good" — a concept album based on Genesis 1.

"Let the land produce vegetation: seed-bearing plants and trees on the land that bear fruit with seed in it." (Genesis 1:11)

Piano-led with full ensemble. Starts solo and grows — each scene adds another layer until the garden is in full bloom. Moog Subsequent 37 walking bass, UDO Super 6 pads and flute, shimmer bells, Wavetable plucks, BBCSO strings. Life sprouting from every direction.

96 BPM | D major

Ophanael — Wheels within wheels.

Every Seed

Track 6 from "It Was Good" — a concept album based on Genesis 1.

"Let there be lights in the expanse of the sky to separate the day from the night." (Genesis 1:14)

BBCSO trumpet and deep pluck trading verses and choruses over UDO Super 6 pads and Moog Subsequent 37 bass. A cycling four-note hook that builds from moonlight whisper to blazing sun. Pop structure with sacred bones. The DeVotchKa swell Ophanael was made for.

100 BPM | D major

Ophanael — Wheels within wheels.

The Luminaries

Track 7 from "It Was Good" — a concept album based on Genesis 1.

"Let the water teem with living creatures, and let birds fly above the earth across the expanse of the sky." (Genesis 1:20)

BBCSO flute and deep pluck trading verses and choruses — birds in the air, life in the water. They interlock on the final chorus for the first time. UDO Super 6 pads, Moog Subsequent 37 walking bass, BBCSO strings. The fastest track on the album. The ocean exploding with life.

126 BPM | D major

Ophanael — Wheels within wheels.

Waters Teeming

Seven Thousand (Remix) — Track 9 from "The Still Small Voice"

"Yet I reserve seven thousand in Israel." (1 Kings 19:18)

Remixed with layered Moog and UDO — multiple audio passes stacked for a thicker, wider sound. The remnant isn't whispering anymore. It's a wall of light.

120 BPM | Gb major

Ophanael — Wheels within wheels.

Seven Thousand - Remix

Remix track derived from Dry Ground on  "It Was Good" — a concept album based on Genesis 1.

"Let the water under the sky be gathered to one place, and let dry ground appear." (Genesis 1:9)

UDO Super 6 and Moog Subsequent 37 heavy. Funky, uplifting, physical. The earth pushes up through the water — syncopated bass lines, dancing lead melodies, the joy of solid ground underfoot.

112 BPM | D major

Ophanael — Wheels within wheels.

Dry Ground  - Remix

Track 8 from "It Was Good" — a concept album based on Genesis 1.

"Let the land produce living creatures according to their kinds: the livestock, the creatures that move along the ground, and the wild animals." (Genesis 1:24)

Back to the roots. UDO Super 6 pads, double Moog passes for bass and lead, Rhodes electric piano, a single pulse that ignites the climax. Three voices humming with quiet life. Veridis Quo meets Genesis. The earth filled with creatures you feel more than hear.

108 BPM | D major

Ophanael — Wheels within wheels

Cattle And Creeping Things

Track 10 from "It Was Good" — a concept album based on Genesis 1.

"By the seventh day God had finished the work he had been doing; so on the seventh day he rested from all his work. Then God blessed the seventh day and made it holy." (Genesis 2:2-3)

The bell motif planted as a seed on Track 2 finally blooms. D-F#-A-D cycling over a chord that repeats six times — once for each day of creation — growing with each day. Two voices become three become four become eight. The seventh chord is the biggest sound on any Ophanael album. Then the bell fades to a single note. Rest.

104 BPM | D major

Ophanael — Wheels within wheels.

The Sabbath

Track 1 from "The Globe of the Moon" — the sixth and final Ophanael album.

The sky is empty. No light. No moon. You're standing in a field and there's nothing above you yet. Three voices in the dark — UDO Super 6 pad, Moog theremin, and a pluck pad cycling three notes. C, Eb, G. Up then down. The album hasn't started yet. This is the silence before.

80 BPM | C minor

Ophanael — Wheels within wheels.

New Moon

OPHANAEL — Wheel of God

Electronic music from ancient light. Four albums mapping the human encounter with the divine — from Ezekiel's blazing chariot to the shepherd searching for one lost sheep, from Job's ash heap to Elijah's cave on the mountain of God.

Moog Subsequent 37. UDO Super 6. Pianoteq Steinway. Valhalla VintageVerb. Ableton Live. Two analog synthesizers, one digital piano, and scripture older than electricity. Every bass line played through a ladder filter. Every melody floating in binaural 3D. Every track built by one person alone in a room asking what it sounds like when the invisible speaks.

WHEELS — Ezekiel's vision. The divine chariot. Chrysolite wheels covered in eyes.

BEAUTIFUL — Luke 15. The lost sheep, the lost coin, the prodigal son. To be found and to find.

JOB — Suffering, silence, and the voice from the whirlwind. Where were you when I laid the foundations of the earth?

THE STILL SMALL VOICE — Elijah. Fire from heaven to a whisper in a cave. God comes in the nothing after the everything.

A 12th-century nun. Two French robots. A man with a Moog. The wheel turns.

ophanael.com

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