With a proficient technique, that encircles its diluted ocean of highly concentrated peripheral harmonies in a more convergent stream of sensibilities, the music of Khara focuses the strength of its sound on the creation of a torrid and intense, but at the same time deeply sincere and humane atmosphere. Gracefully exhibiting in all the traces of its musical tenderness the essence of its soul, the passionate vitality of the melodies comes from the concentrated synergy of its unquestionable creative veracity, that is seemingly dissipated in every note of its fabulous lugubrious cadences.
Despite the fact that the album follows a general pattern of slow harmonies, the songs are instinctive pieces of introspective liberty. With a curious expansive anatomy, and a fatalist dispersive nature that overexposes the shadow of its constrained resonant disturbances, the music in Heaven Can Wait is practically an elegy to a solitary afternoon, forever lost in the winter funeral of an everlasting sorrow, that reclaims its own deceptive grief to consistently bury all the days to come.
With a formidable level of beauty that certainly surpasses the prerogative of its abundant and intrinsic commonalities, Heaven Can Wait, on a more general basis, is definitely an ordinary post rock album. Nevertheless, on the other hand, there is a magnificent degree of originality exposed on the profoundness of its laborious and cohesive essence; especially on the latent, genuine and creative sincerity upon which the music expresses a passionate, infinite and pervasive level of melancholy, without ever disrupting it. Giving form and consistence to a sound that elaborates on the resonance of its own continuity, Heaven Can Wait certainly can be considered an interesting album, that has enough qualities to captivate an audience.