With A Way and its arpeggios of glasses which fall and sing like tears of joy on cheek wrinkled by happiness. And this splendid HEAVEN AND HELL ends in a lunar ode. The lines of Albedo 0.39 's Pulsar are drawn there. Aries bursts between our ears like an electronic fanfare. Sublimate! And those who hear a phantom of Ennio Morricone … There is a little of truth. Then finally come the first sunny spells of 12 O' Clock by the wonderful voice of Vana Veroutis who calms all torments and all tormented minds. Vangelis is the master of his HEAVEN AND HELL and of his passion for chaos. Just bits of rhythm which burst, and which get lost in an intense sound mosaic where the immoderation is amplified by the presence of a virtual symphony orchestra. Except that the chaos regurgitates its roars. The percussions make kicks and upset the order of quietude while that 12 O' Clock adopts the bipolarity of Bacchanal. We hear a voice of oracle to neigh there, while other more virginal voices whisper to the ears of the gods a melody torn between calm and storm. Absent choruses hum under a sky covered of apocalyptic thunders. The movement of 12 O' Clock bickers constantly between the beauty and the beast, the consistency and the anarchy, the sky and hell. The play of the bass which stems the tide of agile metallic arpeggios is superb and the melody which sparkles under an immense pattern of synth carillons is just as much. Hollow winds blow on percussions and atonal bass pulsations, shaping a dark mood where every breath feeds the fright of the bats of which the flight of the thick cloud melts to the meshing of percussions and heterogeneous tones which get lost in the interstice of time in order to join the fascinating oriental melody of Needles and Bones. There is a small parallel to be made between both works.Ī very sinister ambience opens Heaven and Hell Part II. In fact, this finale reminds me that of Yes' Relayer where a fascinating celestial quietude followed the wild madness of Gates of Delirium. This delicate lunar melody will find a buyer as music to the Cosmos documentary in 1980 and leads us towards the splendid and very soft So Long Ago, So Clear an electronic melody that will become the cradle of the New Age and where Jon Anderson enchants with his so ethereal voice. And we arrive to the soft Movement 3 and its piano which makes dream its notes in bluish mists and singing breezes. It's a brief opera where the sky sets ablaze hell and among which the fine notes of piano which dance with bells bring us towards the firsts outlines of Chariots of Fire an album which will see the light of day some 6 years later. The melody of Symphony to the Powers B is as frivolous and grave, embracing angelic structures as more restless passages. Follows then a delicate piano of which the melody has difficulty to penetrate this opaque Dantesque approach which gets support by the English Chamber Choir. This sonic frenzy attaches its passion at the second movement where Vangelis hammers an austere pace with gloomy chords which unfold a minimalist baroque melody. Knocks of percussions set ablaze the rage of the first movement which topples over towards anarchy with sudden kicks which carry a sonic duel between philharmonic synths, harmonious ringings and Gregorian choirs of which the somber celestial harmonies run on loop over the warning shots of the percussions. After these slow breaths of Jericho, Heaven and Hell Part I goes to debacle with an unbridled rhythm.
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