┌───────────────────────────────────────────────────────────────────┐ │■ ■│ │ .-/ .-. │ │ _.-~ / ___ | ~-._ │ │ \:/ -~| / __/| .\:/ │ │ / || (:/:| \ │ │ / /\/| |:\___\| |\ \ │ │ / /:::|.::/:::/:.|:\ \ │ │ / /:::/ \\/:::/::/:::\ \ │ │ / .::\ \-~~~~-/\/:.. \ │ │ /..:::::\ /:::::..\ │ │ /::::::::- -::::::::\ │ │ \:::::-~ ~-:::::/ │ │ \:-~ ~-:/ │ │ METAL CLASSICS ARCHIVE │ │ │ │ │ │ │ │ P R E S E N T S │ │ │ │ │ │ + Heavens Gate - In Control & Open The Gate And Watch! (EP) + │ │ │ │ │ │╔═════════════════════╗ │ │║ Release Information ║ │ │╠═════════════════════╩══════════════════════════════════════════╗ │ │║ ║ │ │║ Rls Date..2020-04-27 Encoder......LAME 3.100 ║ │ │║ Genre.....Heavy Metal Graber.......EAC ║ │ │║ Year......1990 Khz/Bitrate..44.1 / VBR kbps ║ │ │║ ║ │ │║ Ripper....Anthem Songs........15 ║ │ │║ Source....CD Covers.......Yes ║ │ │║ Url.. ║ │ │║ ║ │ │╚════════════════════════════════════════════════════════════════╝ │ │ │ │ │ │ │ │╔═════════════════════╗ │ │║ Release Notes ║ │ │╠═════════════════════╩══════════════════════════════════════════╗ │ │║ ║ │ │║ Artist : Heavens Gate ║ │ │║ Album : In Control & Open The Gate And Watch! (EP) ║ │ │║ Label : Victor ║ │ │║ Cat.No : VICP-66 ║ │ │╠════════════════════════════════════════════════════════════════╣ │ │║ ║ │ │║ Description : ║ │ │║ ║ │ │║ IN CONTROL ║ │ │║ ║ │ │║ In the late-80Æs classic heavy metal was stagnating; there ║ │ │║ were simply no new acts to keep it alive. Everything was ║ │ │║ turning to thrash, death, progressive, power/speed metalà ║ │ │║ the father of it all was left unattended and neglected. ║ │ │║ Certainly, the usual suspects (Scorpions, Judas Priest, ║ │ │║ Iron Maiden, King Diamond, Black Sabbath, Accept/Udo) were ║ │ │║ still around and were doing a relatively good job, but ║ │ │║ there were no new forces to step in and take the mantle ║ │ │║ from themà ║ │ │║ ║ │ │║ something had to come from either Germany or England, the ║ │ │║ two cradles of heavy metal, as the Americans have never ║ │ │║ shown any big interest in the genreÆs roots. And it did, ║ │ │║ the band under scrutiny here, with the most fitting name ║ │ │║ ever having in mind that they had to play the role of the ║ │ │║ saviours, the samarithans, the messiahs... they werenÆt ║ │ │║ novices, though, as their journey into the metal fodder had ║ │ │║ begun way earlier, in 1983 to be precise, under the name ║ │ │║ Steeltower, but there was only one album (ôNight of the ║ │ │║ Dogö, 1984) released before the guys decided to change ║ │ │║ their name to a more fitting one having in mind their new ║ │ │║ salvation-like mission. The album reviewed here caused real ║ │ │║ furor, at least in Europe and Japan, and for a bit the guys ║ │ │║ were bathing in glory although the time for their ║ │ │║ appearance was perhaps not perfectly well chosen. ║ │ │║ ║ │ │║ Still, there was not much to complain about on this sheer ║ │ │║ steel heavy metal roller-coaster which opens with the ║ │ │║ title-track, a rousing uplifting heavy/power metal anthem ║ │ │║ that so nicely captures the boisterous spirit of the genre ║ │ │║ with the sharp guitars, the vigorous pace, and the ║ │ │║ excellent emotional clean croons of Thomas Rettke, a ║ │ │║ talented singer from the Michael Kiske (Helloween) school. ║ │ │║ ôTurn it Downö makes sure the album to not turn into too ║ │ │║ aggressive an offering, and provides heavy stomping ║ │ │║ rhythms, a pleasant bouncy cut that their compatriots ║ │ │║ Bonfire would have been proud of. The speedier cannonade ║ │ │║ continues on full-throttle on ôSurrenderö, a lively ║ │ │║ vigorous hymn with a great memorable chorus and outstanding ║ │ │║ pathos-like performance by Rettke; but there wonÆt be two ║ │ │║ in a row here apparently as the following ôHot Feverö is a ║ │ │║ radio-friendly number, a cheesy proposition which still ║ │ │║ wins thanks to the infectious chorus and the cool melodic ║ │ │║ guitar work. ôTyrantsö logically canÆt be anything too ║ │ │║ pacifying having in mind the intimidating title, and indeed ║ │ │║ this is the next in line energetic track, a nearly speed ║ │ │║ metal rager which will definitely move the head around. ║ │ │║ ôPath of Gloryö is the epic respite, an officiant pounder ║ │ │║ with doomy vibes the latter gracefully continued on ║ │ │║ ôShadowsö which is a longer semi-balladic composition that ║ │ │║ slows the album down by a hefty notch without quite ║ │ │║ reaching the nostalgic grandeur of the Scorpions repertoire ║ │ │║ in this trend. The epitaph is a pleasant surprise on all ║ │ │║ counts, though: first because of the cover of the 1970Æs ║ │ │║ Canadian folk singer Joni MitchellÆs ôThis Flight Tonightö, ║ │ │║ turned into a dynamic power/speed metal hymn with a huge ║ │ │║ ôeagle fly freeö potential; and last but not least ôCry it ║ │ │║ Outö, another impetuous speedster with the catchy chorus, ║ │ │║ the pathos-like vocal exploits, and the sharp lashing ║ │ │║ guitars. ║ │ │║ ║ │ │║ Things didnÆt look good on the heavy metal front at the end ║ │ │║ of the decade; on the English side except for Black ║ │ │║ Sabbath, who miraculously managed to re-invent themselves ║ │ │║ with the arrival of Tony Martin, it all went downhill first ║ │ │║ with Judas whose ôRam it Downö was a most inconsistent, ║ │ │║ dishevelled, unconvincing recording, and then with Iron ║ │ │║ Maiden who entered the studio to prepare for the creation ║ │ │║ of the weakest opus in their career. In the mean time, the ║ │ │║ Germans had all become Americans Accept the biggest ║ │ │║ traitors of them all with the awful ôEat the Heatö, the ║ │ │║ other two Scorpions and Bonfire at least saving some ║ │ │║ dignity for their homeland with the much better ôSavage ║ │ │║ Amusementö and ôPoint Blankö respectively. The genre had ║ │ │║ long since reached its pinnacle by that time with only the ║ │ │║ ever-reliant King Diamond keeping the level high with his ║ │ │║ horror riff-tales. Heavens Gate looked like the KingÆs most ║ │ │║ promising companions, especially after a second consecutive ║ │ │║ strong offering which was the ôOpen the Gate and Watch!ö ║ │ │║ EP. Unperturbed by the oncoming changes on the music ║ │ │║ horizon, the guys carried on and came up with the excellent ║ │ │║ ôLivinÆ in Hysteriaö, a very needed breath of fresh air for ║ │ │║ the stagnating old school field greatly increasing the ║ │ │║ guysÆ profile. ║ │ │║ ║ │ │║ Well, it was never too late for one to catch up with ║ │ │║ whatever new currents were running above and below, and ║ │ │║ ôHell for Sale!ö was a messy assembly of styles with some ║ │ │║ groove, grunge and even pure American glam contaminating ║ │ │║ the environment, suffocating the remnants from their old ║ │ │║ repertoire. This was also the year when the other bright ║ │ │║ hope from the other side of the Atlantic, Annihilator, also ║ │ │║ chose to flop deplorably rather than ôset the world on ║ │ │║ fireöà sad, sad times all over the planet, but fortunately ║ │ │║ our saviours here had plan Eà sorry, B, and after waiting ║ │ │║ for about four years for the aftershocks to subside, they ║ │ │║ hit with ôPlanet E.ö, a marvellous return to form, classic ║ │ │║ heavy metal at its finest, hammering a stake right through ║ │ │║ the heart of the groove/aggro/alternative hegemony in the ║ │ │║ middle of the decade. ║ │ │║ ║ │ │║ A dignified swansong, maybe? Not quite cause the band had a ║ │ │║ few more things to say by the end of the 90Æs when ║ │ │║ ôMenergyö appeared, a more light-hearted affair with ║ │ │║ pop-ish and hard rock-ish motifs blended on the staple ║ │ │║ heavy/power metal base; a pleasing, acceptable finale to a ║ │ │║ distinguished career. The guysÆ skills were noticed, and ║ │ │║ they were soon picked by various other projects like ║ │ │║ Avantasia, Luca Turilli, the power metal formation Redkey, ║ │ │║ the Dutch symphonic metallers Trillium, the heavy/power ║ │ │║ metal act Aina, etc. TheyÆre keeping themselves busy by all ║ │ │║ means, always prepared to take on another mission to ║ │ │║ salvage the good old metal whenever such a need arises. ║ │ │║ ║ │ │║ ----------------------------------------------------------- ║ │ │║ --------------------------------------------------------- ║ │ │║ ║ │ │║ OPEN THE GATE AND WATCH! ║ │ │║ ║ │ │║ To me, Heavens Gate are one of the true higher-tier German ║ │ │║ power metal bands of the late 80s/90s. Their melodic style ║ │ │║ immediately brings to mind Helloween with a slightly more ║ │ │║ virtuoso set of musicians. Honestly, I think Thomas Rettke ║ │ │║ is one of the best singers of the genre period. His range ║ │ │║ is very reminiscent of Kiske, yet he has a more distinct ║ │ │║ Germanic-sounding voice, think Hansen, he also isn't afraid ║ │ │║ to reach Halford-level screams. ║ │ │║ ║ │ │║ The music here is just consistent and catchy melodic power ║ │ │║ metal; the opener is a classically fast and driving melodic ║ │ │║ speeder. Immediately you will notice these guys have very ║ │ │║ wild and expressive guitar styles; of course the now-famous ║ │ │║ studio musician Sascha Paeth is the main axeman behind the ║ │ │║ sound here. They duel away in this track as good as any ║ │ │║ band in the era. ║ │ │║ ║ │ │║ Dancing on a Rope is my favorite track here. It is a ║ │ │║ shreddy-type speed metal song with really cool whammy ║ │ │║ bar-heavy guitar riffs and a fucking chorus for the ages, a ║ │ │║ trademark of the Heavens Gate sound. They have a primal ║ │ │║ attachment to bands like Riot, even though their ║ │ │║ predisposition is German melodic power metal. ║ │ │║ ║ │ │║ Heavens Gate is noteworthy because for whatever reason they ║ │ │║ decided to not only play melodic power metal but they also ║ │ │║ flirted with glam metal/heard rock. In later albums at ║ │ │║ times the sound works, but on tracks like Rock On it truly ║ │ │║ does NOT work. It is a David Essex cover, but that is ║ │ │║ beyond the point. This is as shitty as any stupid as you ║ │ │║ would think it to be, and should be avoided. Thankfully ║ │ │║ they get back on track with another power metal anthem in ║ │ │║ Pictures in the Mirror. It follows a more mid-paced tone; ║ │ │║ again the guitars are just winding around here wildly and ║ │ │║ tastefully. They finish with Cry it Out which is another ║ │ │║ formidable power metal number with the now-familiar wild ║ │ │║ and enthusiastic guitars. It was originally a bonus track ║ │ │║ on the first album, but I guess they remixed it here. ║ │ │║ Because the two final full-length tracks are a touch slower ║ │ │║ than the speedy two openers I would give the edge to that ║ │ │║ half of the EP. They play a more Riot-esque sound on these ║ │ │║ tracks, which is just fine with me. ║ │ │║ ║ │ │║ Overall besides the useless intro and glam cover, this is a ║ │ │║ good example of Heavens Gate's brand of guitar-heavy ║ │ │║ melodic power metal. Touch the Light and Dancing on a Rope ║ │ │║ are both classics for the band. ║ │ │║ ║ │ │║ Recommended tracks. Touch the Light, Dancing on a Rope, Cry ║ │ │║ it Out, Pictures in the Mirror. ║ │ │║ ║ │ │║ ║ │ │╚════════════════════════════════════════════════════════════════╝ │ │ │ │ │ │ │ │╔═════════════════════╗ │ │║ Release Tracklist ║ │ │╚═════════════════════╩══════════════════════════════════════════ │ │ │ │ 1. The Gate (Instrumental) 1:20 │ │ 2. In Control 5:09 │ │ 3. Turn It Down 5:15 │ │ 4. Surrender 4:01 │ │ 5. Hot Fever 3:58 │ │ 6. Tyrants 4:36 │ │ 7. Path Of Glory 4:15 │ │ 8. Shadows 6:58 │ │ 9. This Flight Tonight (Joni Mitchell Cover) 3:58 │ │ 10. Open The Gate And Watch (Instrumental) 1:22 │ │ 11. Touch The Light 3:46 │ │ 12. Dancin' On A Rope 4:31 │ │ 13. Rock On (David Essex Cover) 3:52 │ │ 14. Pictures In The Mirror 3:09 │ │ 15. Cry It Out (Remix) 4:15 │ │ │ │ │ │ Total Length : 01:00:25 │ │ │ │ │ │ ▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄ │ │ │ │ │ │ │ │ ╔═════════════════════╗ │ │ ║ Greetings To: ║ │ │ ╚═════════════════════╝ │ │ │ │ Too all people who contributes to make this │ │ archive of good music in a exceptional conditions │ │ │ │ │ │ │ │■ ■│ └───────────────────────────────────────────────────────────────────┘