Heavens Gate
Planet E.

Authenticated diligently, after incurring the wrath of colleagues and Greek architects with my first review of the masters Black Sabbath, I return to the fray from my law office with the review from memory of an exceptional and somewhat underrated album by Heavens Gate. A band whose head is the good Sascha Paeth, a person accused of creating the frothy and epic sound of Rhapsody, with which he has forged the trademark of the "Italian power metal" that so many of our local bands have pursued (garnering some ridicule around the world and in their homeland, but meanwhile building some kind of national music scene).

Aside from digressions, it must be said that this Heavens Gate album is really cool. To give you a rough idea of the sound, I could tell you it's a sort of blend of AOR and power metal that creates a rather original precipitate. I also find that the production of this album is at really high levels, all the instruments produce warm sounds full of dynamics (which is quite rare in Paeth's productions), extremely defined and well-mixed together (the riffs with the fretless bass in a couple of songs are super cool), contributing to create a very atypical sound. Special mention then goes to the excellent arrangements that manage to embellish all the tracks, never leaving the more attentive and knowledgeable listener disappointed.

Among the tracks, one should definitely mention the opener track “Terminated World,” which sets on a syncopated verse and bridge with a fluctuating rhythm a sunny and very catchy chorus that truly leaves you a bit bewildered (thanks to the falsetto choirs of the excellent singer). The spirited “On The Edge” will delight those who, when listening to a metal album, do track skipping in search of the spirited tracks. “Back From The Dawn,” “Rebel Yell,” and “Animal” reveal more cadenced rhythms and moods and at times hard-rockish without undermining the personality of the album. “Back Religion,” with the insertion of an Indian instrument and the extensive use of harmonic minor scales (the kind that sound a little Arabic, used and abused by Malmsteen and co., so to speak) is instead one of the musically more interesting episodes. Also enjoyable is the acoustic ballad “Children Play,” especially for the choice to use an orchestral arrangement that is not annoying and noisy.
The real enjoyment, however, comes with “Noah’s Dream,” the long suite at the end of the album that deftly alternates the elements that make the sound of the Heavens too cool. A memorable a cappella intro, a slightly epic but not at all gaudy chorus, and a central part that is intricate and unpredictable make this track a true gem that few, unfortunately, have been able or had the chance to admire.
The affair closes with “This Town Ain’t Big Enough For The Both Of Us,” a pure divertissement containing - however - novel rhythmic and harmonic solutions.

Well, in short, enough chit-chat, find a way to get this album and let me know! If you already know it, tell me without delay what you think.
Rock On