HEAVEN AND HELL

Heaven And Hell, Part 1 starts... finally begins; a majestic intro that you immediately recognize, then swirling and screaming choruses of madness, that's it, you are in the world of VANGELIS; it shines everywhere, the layers of synths have a blast; this subtitle is called 'Bacchanale' yes we understood everything; the suite, a droning melody on Moog, Fender Rhodes and other Bösendorfer grand piano keyboards, keyboards for a 20th century symphony; choirs with The English Chamber Choir and you have the ingredients for this magical moment; a grandiose fusion of classical, religious, Oldfield bells and a musical fresco is created, shown before you, musical magic. The 3rd movement at the piano comes to set down this phonic deluge a little by offering a gripping religio-solemn ballad, a slow rise with the synth which imprints the Vangelis sound the first opus after the fantastic 'L'Apocalypse Des Animaux'

2 So Long Ago, So Clear sound coming from the stars... and a star yes Jon himself who comes to chat; memory of that time when his voice made the radio vibrate, yes he had passed over it... imagine the happiness of that time; good solemn title with the voice which responds to the synths, the Olympian choirs which respond to the flights of notes and this syrupy melody which remains attached to your memory, yes it was just sublimely Dantesque 3 Heaven And Hell, Part two and five movements on this side... did you change it by the way? A sinister, distressing beginning with these metal claws, these wanderings at the piano, these musical flames emerging from a cemetery; 'Needles and Bones' on OLDFIELD for sure, well it then evolves into its own space but still; it's difficult to access, I found fortunately that I had plunged into it; '12 O'Clock' for the major moment, the choirs, the drums, everything is done to upset us, to torture our ears; the finale with Vana as lead vocal and her murmured vocalizations melts the indelicate progue who thought it was simplistic electronics; hold the bell and the Gregorian atmosphere to bring him down; 'Aries' storms in and in the space of two minutes creates mayhem; sonorous, phonic rolling, dithyrambic explosions to bring the finale very gently; an 'A Way' which plays out gently, melodically perfectly, just to rest the ear which has suffered pleasantly from this long journey of 3/4 hours.