Symphony of the Universe: Cristiano Filippini and the Epic Vision of FLAMES of HEAVEN

Symphony of the Universe: Cristiano Filippini and the Epic Vision of FLAMES of HEAVEN

Few bands in the modern power metal scene embrace grandeur quite like Cristiano Filippini’s FLAMES of HEAVEN. With their latest release, Symphony of the Universe (out now on Limb Music), the Italian composer and his band deliver a sweeping blend of symphonic majesty and raw metal energy. Drawing inspiration from classic manga, Greek mythology, and even autobiographical themes, Filippini crafts music that feels both timeless and deeply personal.

In this exclusive conversation, Cristiano opens up about the creative journey behind Symphony of the Universe, the band’s evolution since their debut The Force Within, and the powerful connection they’ve built with fans across the globe. From working with legendary producers to dreaming of future live performances, his passion for epic storytelling and uncompromising artistry shines through every word.

Symphony of the Universe is such a grand title. What inspired the concept for the album?
My goal was to create a massive, epic, and majestic album. I felt that a title like Symphony of the Universe captured that ambition perfectly. A symphony orchestra represents grandeur, while the universe is the largest and most awe-inspiring thing we know. Combining those words gave me the sense of scale I wanted. Conceptually, many of the songs are inspired by the famous manga Knights of the Zodiac, which blends modern Greek mythology with epic storytelling. Since the characters are tied to constellations, the theme fits beautifully with the album’s title.

Your music blends symphonic elements with power metal. How do you balance orchestral grandeur with the raw energy of metal?
In Italy during the late ’90s, Rhapsody pioneered epic symphonic power metal. They were incredible, but sometimes their orchestral elements dominated the mix, and the core rock and metal foundation suffered. My approach is the opposite: I start with a strong, clear metal base — guitars, keyboards, vocals, bass, and drums — and then add orchestral elements as accents. Typically, it’s about 70% metal and 30% orchestral. Of course, it depends on the song. In the longer suites, the orchestral parts are more prominent, with strings, brass, and percussion fully integrated.

Your vocalist Marco Pastorino has sung with bands like Temperance and Serenity. How did he become involved with your project?
Back in 2011–2012, I released two instrumental symphonic albums — The First Crusade and Flames of Passion. They were my way of introducing myself to the music world, and they received good attention in Europe. Marco heard my work through the label that distributed those CDs, and he reached out to me on Facebook in 2012. He told me he admired my compositions and suggested that if I ever wanted to create epic power metal, I should consider working with him. It was very natural and easy — we connected right away.

Limb Music has a legendary history with power and epic metal. How did you end up signing with them?
After forming FLAMES of HEAVEN, we composed, recorded, and produced the album. We mixed and mastered it in Helsinki with Stratovarius guitarist Matias Kupiainen and the legendary engineer Mika Jussila. We sent the finished work to several labels, and Limb Music responded enthusiastically. I still remember their reply: “Congratulations, there’s great potential here — let’s talk contracts.” It was an easy decision. Limb Music has an incredible legacy in this genre — they managed Helloween during the Keeper of the Seven Keys era, created the Rhapsody project, and supported Angra’s debut. Their experience is unmatched, and we’re proud to be part of their roster.

Your debut album, The Force Within, was released in November 2020, right in the middle of the pandemic. Looking back, what are your thoughts on that timing?
I went to Finland to mix the album in late 2019, just a few months before the pandemic hit in March 2020. It was a great experience, but the production process was difficult — we ended up mastering the album three times. With live shows impossible, I had a lot of time to focus on writing new material. Some of the songs for Symphony of the Universe were written nearly 20 years ago, while others are brand new. The production was challenging, partly due to my health issues, and we spent a year trying to mix it ourselves. Ultimately, the results weren’t good enough, so I started over and worked side by side with Simone Mularoni, one of the best sound engineers in metal. After six months of intense collaboration, I can say the final result is 100% excellent.

Do you see Symphony of the Universe as a continuation of the first album, or is it a bold new chapter in your musical journey?
Musically, it feels like a natural second part. My goal was to take the best elements from the golden era of power metal — the ’80s and ’90s — and combine that energy with the great American and European AOR of the same period. The result is not entirely original, but it’s a distinctive mix that carries my personal mark as a composer. I also love electronic music, so synthesizers play a role as well. In that sense, it’s the same journey.

Lyrically, though, I wanted to improve after The Force Within. That album received incredible reviews, but I felt the lyrics could be stronger. Writing in English is always a challenge for us non-native speakers, but I worked hard to make them more meaningful and musical. Symphony of the Universe is less abstract and more concrete. Some songs are inspired by the manga I mentioned earlier (Knights of the Zodiac), others are autobiographical, and some explore epic, angelic, or biblical themes. It’s a rich mix of ideas.

Your drummer Paolo Caridi has also worked with David Ellefson of Megadeth. How did Paolo become involved with FLAMES of HEAVEN?
It’s actually a funny story. After Marco joined as vocalist, I needed a guitarist — which is crucial in this kind of music. I knew Michele Luppi because he was one of the most-viewed guitarists on YouTube, with millions of views on his cover of Beethoven’s Sonata. At first, I thought his style was too classical, but then I saw him play a solo from Europe’s “Superstitious” and realized he was perfect. At the time, he was teaching near my city, so I pretended to be a student just to meet him. After two lessons, we were already arranging the album together!

Michele was friends with Giorgio Terenziani and Paolo Caridi, and he suggested I bring them in. They were excellent choices — professional, talented, and passionate about AOR, metal, and power metal. Paolo later went on to play with David Ellefson and Geoff Tate, which is a great achievement for him and for us as a band.

Has FLAMES of HEAVEN had the chance to play live yet, or is that something you’d like to do in the future?
The songs are absolutely perfect for live performance, but at the moment we haven’t received the kind of proposals that would make it worthwhile. Right now, my focus is on growing our fan base. After the marketing campaign for this album, we’ll see what opportunities arise. My original plan was to start playing live after the third album, but you never know. Never say never.

Have you ever visited Los Angeles, either to perform or just for leisure?
Only as a visitor. I’ve been to the USA twice. The first time was in 2001, and I was in New York at the Twin Towers just two weeks before September 11. Later, I visited California because a friend of mine was studying at San Diego University. Those trips were vacations, but they left a strong impression.

Interestingly, Spotify shows that the USA is our second-biggest audience, right after Germany. That makes me very happy and maybe suggests that America is part of our destiny. I really enjoyed California — it’s the only place outside Italy where I could imagine living. Europeans grow up with American movies and music, so the American dream is still alive for many of us.

Are you currently involved with any other bands or projects outside of FLAMES of HEAVEN?
No, because I want to dedicate all my energy to this band. In the future, I may return to symphonic composition or promote my epic opera, which was performed in Italian theaters about ten years ago, and perhaps bring it to other theaters in Europe or abroad. But right now, I don’t have the energy to join another project. It’s not a matter of time, but of focus.

I’ve composed more than 20,000 minutes of music in my life, and for the third album alone I wrote around 700 riffs and melodies. My goal is to carefully select the very best of my compositions and focus entirely on FLAMES of HEAVEN. I want every release to be the strongest album possible — no fillers, no weak songs. If you spread yourself too thin across multiple projects, you risk losing both energy and quality, and that’s something I want to avoid.

Do you have any messages for power metal fans, especially those in the United States who have been following your career?
I receive messages every day — emails, Instagram and Facebook notes, reviews, interview requests — from all over the world, and I’m very grateful. Recently, Rock Hard France named Symphony of the Universe Album of the Month, and Rock Hard Italy did the same a few weeks earlier. That recognition makes me feel we’ve done very good work.

What touches me most is when people reach out not only about the music but also for spiritual advice or encouragement. Some even say my music feels like a “virtual warm hug” because it carries positive energy. That positivity doesn’t come only from happy moments, but also from suffering, solitude, and pain. I believe the strength of our music lies in never giving up, no matter the situation. The world is difficult today, but we must live day by day, find our own path, and hold on to the joy of being alive.

In Conclusion

With Symphony of the Universe, Cristiano Filippini and FLAMES of HEAVEN prove that epic storytelling and symphonic power metal are alive and thriving. From the manga-inspired constellations to deeply personal reflections, the album is both cosmic in scope and human at its core. Cristiano’s dedication to crafting music without compromise — every riff, every lyric, every orchestral flourish — shows a relentless pursuit of excellence.

As the band looks toward the future, whether on stage or in the studio, one thing is clear: FLAMES of HEAVEN are building a legacy of passion, resilience, and positivity. For fans in Europe, the United States, and beyond, Symphony of the Universe is more than an album — it’s an invitation to embrace the epic, to find strength in struggle, and to celebrate the power of music that refuses to give up.

(Interview by Ken Morton)

Cristiano Filippini’s FLAMES of HEAVEN on Facebook