I am very aware that it is a near pointless endeavour to review this album since it has already been dissected in every way possible. However, as someone who first heard The Dark Side of the Moon very recently while in my late teens, I can perhaps offer some insight into why this release still resonates so strongly with listeners, in particular young listeners, today.

It is no exaggeration to say that this album genuinely changed the way I listen to music; the first time I experienced The Dark Side of the Moon it was with over-the-ear headphones on and my eyes closed as I simply listened and tried to take in what I was hearing. I had never listened to an album that way before, and that fact alone is an attestation to the significant impact Pink Floyd’s eighth release had on me.

First, I must talk a little about the sound of this album. Throughout the disc Pink Floyd repeatedly create different atmospheres through their music; whether it’s the frantic desperation of “On the Run”, the chilling and foreboding keyboards on “Time”, or the haunting vocals that express meaning without words on “The Great Gig in the Sky”, the band use the sound of each song to evoke a different feeling in the listener. For me no song does this better than “Us and Them” as its soft, quite quiet beginning lulls you into a sense of comfort which is then shattered by the explosive chorus. The sudden change in volume and the almost harsh sounding wall of backing vocals on the chorus of this song perfectly mimic the unpredictable and violent nature of war.

Next, I want to mention the incredibly innovative use of sound effects on this record. The way that the ticking of clocks and the distinctive noise of a till are used to establish the rhythms of “Time” and “Money” respectively is something that I have never before heard in any other music. The sound effects are even more impressive when one considers that the band had to record all the noises on physical tapes and then manually splice pieces together to achieve the end result. Finally for the sonic side of the album, I want to pick out a few of my favourite aspects of the instrumentation. The baseline of “Money” is immediately recognisable to anyone who has heard the song, and there is no other song I can think of that is so driven by the bass guitar. The guitars sound crisp and clear all throughout, with a slightly jazzy edge to them, and that is refreshing given the number of chugging riffs and forgettable walls of guitar in some of today’s rock music. It should also be noted that saxophone solo in “Money” subtly foretells its use as a primary instrument in “Us and Them”, and the latter track stand out due to the saxophone replacing the guitar for the most part in terms of carrying the melody.

Now we come to the themes and lyrics of this album. Obviously everyone can read different meanings into lyrics, but I simply want to offer my interpretation of what The Dark Side of the Moon is about in order to determine why it is still so relevant and appeals to listeners of all ages even today. To me, this record is the experience of being human expressed through music. “Time” discusses our sense of mortality and fear of feeling when we die that we wasted our time alive.The transition from life to death is marked by the change in stanza structure at the end of the lyrics of the song, with the consistent four line verses becoming a six line final eulogy. “Money” seems especially appropriate with the rich getting richer and a mentality of thinking only of oneself growing. “Don’t give me that do goody good bullshit” could be the motto of some governments in power at the moment as they promise to “share it fairly” but don’t want anyone in need to “take a slice of [their] pie”. The verses of “Us and Them” are minimal in terms of lyrics before the chorus erupts into words, reflecting the sonic explosion I mentioned earlier. The lack of structure to the lyrics of “Brain Damage” possibly represents the disordered state of the narrator’s mind, with no separate stanzas and instead something resembling a stream of consciousness.

Overall I think this album has remained and always will remain so popular not only because of its musical mastery, but because it describes human emotions that everyone feels or encounters. The Dark Side of the Moon is beloved because it validates what people feel (“Don’t be afraid to care”), and acknowledges the failings of humans. The final lyrics of the album realise that “everything under the sun is in tune but the sun is eclipsed by the moon”. To me this is saying that the world could be perfect, but human shortcomings will always hold us back. In conclusion, everyone wants their emotions to be recognised, and that is what this album does.

Taylor Swift

You can guess from one look at the cover of 1989 that it isn’t going to quite be a typical modern pop record, and you’d be largely correct in that assumption. While there are certainly plenty of catchy choruses and synths on this album, they aren’t all there is. One of the things I noticed the first time I listened to this album was that the lyrics are sometimes show a great deal of self awareness, and are at times slightly more cynical than Swift’s typical output. A good example of the self awareness I mentioned is on the chorus of “Blank Space”, where she sings “Got a long list of ex-lovers/They’ll tell you I’m insane/But I’ve got a blank space, baby/And I’ll write your name”, which proves that she is well aware of some of the criticism that has been levelled at her regarding a lack of variety in the subject matter of her songs. “Shake it Off” addresses said criticism even more directly with its opening lines of “I stay out too late/Got nothing in my brain/That’s what people say/I go on too many dates/But I can’t make them stay/At least that’s what people say”. Whatever else you might think about her, at least she can poke a bit of fun at her own songwriting.Many of the songs on 1989 have some element that sets them apart from both each other and the far too numerous generic pop singles they share the charts with. Album opener “Welcome to New York” is lyrically a fairly simple tribute to the city she just bought a house in, but the almost ethereal synth line running through it and the echoing vocals on the chorus conjure up an image of her walking slowly down a mist-filled suburban street in the song’s title city while singing the song. On “All You Had to Do Was Stay” the contrast of the lower register she uses for most of the chorus and the much higher pitch on the word “stay” efficiently ensures the hook will not leave your head any time soon, and after a few listens chances are you won’t want it to. Swift employs a somewhat menacing vocal style (for her) on the verses of “Bad Blood” and parts of “I Know Places”, and it suits lines like “They are the hunters, we are the foxes, and we run” from “I Know Places”. Possibly my favourite song on the album, at least with regards to lyrics, is “How You Get the Girl”, which hides rather biting lines such as “Tell her how you must have lost your mind/When you left her all alone and never told her why/[…]/And that’s how it works/That’s how you get the girl” behind a deceptively upbeat surface. “Clean”, the last song on the album, is also worthy of mentioning as it provides the perfect ending to the album with a slower, more mellow tone and lyrics that see Swift finally achieving some kind of closure (mostly).

However despite all the good aspects 1989 is certainly not perfect, and it has some less impressive moments. For example “Style” doesn’t really do anything to differentiate itself, and just comes off as rather common fare musically and lyrically, at least for me. “Out of the Woods” has a very interesting sound and some excellent vocals but the chorus ends up falling slightly on the repetitive side. “Wildest Dreams” suffers from the same problem as style, and has the added problem of containing the line “He’s so tall, and handsome as hell/He’s so bad but he does it so well”, which is far from her usual lyrical standards, but it is redeemed to an extent as her voice sound especially good in parts of the song. “This Love” is a gentler, softer track but it gets lost behind “Clean” and the deluxe edition bonus track “You Are in Love”, both of which are superior, the latter providing a refreshing change of perspective as Swift sings about someone else’s love life instead of her own.

In conclusion this is an excellent album, with only a couple of missteps. Taylor Swift should be proud of what she has accomplished on this release and I would highly recommend checking 1989 out if you have a liking for good, slightly 80s pop music.

Persuader - When Eden Burns

I’m going to get straight to the point and say that this is one of the best power metal albums that I have listened to in a long, long time. When Eden Burns is the third studio effort by Swedish power metal band Persuader, and it’s one hell of an album. The music you’ll find here is mostly classic power metal, and that’s a good thing because Persuader do it very, very well. Some of the heavier songs on the album have hints of thrash influences and a few death growls are scattered sparsely throughout the album for effect.

The musicianship on this album is consistently fantastic all the way through. Some highlights include the beautiful acoustic guitar solo in “Judas Immortal”, the outstanding lead guitar work on “Sending You Back”, the melodic guitar solo played over the pounding of frantic drums about two thirds of the way into “When Eden Burns” and the ominous piano during the intro of “Doomsday News”. The guitars sound crisp and melodic but have enough bite to satisfy the listener’s desire to headbang. The drums pound their way through the tracks with ferocity and impressive technicality. The bass isn’t hugely audible, as is common in this genre of music, but it keeps the rhythm very nicely.

Now we get onto the vocals on the album. Jens Carlsson’s voice is absolutely perfectly suited to this kind of epic music. I’ve seen him compared to Hansi Kursch (Blind Guardian’s vocalist) a lot but I really don’t think the two singers sound that much alike. That isn’t to say, however, that there aren’t a few moments on When Eden Burns that channel classic Blind Guardian vocally. The final thing I’d like to say is that, although I’m not usually a fan of grunted or screamed vocals, I think they work well on the few occasions they are used here. They add emphasis and contrast and are used sparingly and therefore, for me at least, work better than if they were used more often.

There are 10 songs on this album and I have to say it’s definitely all killer, no filler. The only track that even came close to boring me in the slightest was Zion, an instrumental that is still good, and its relatively short length of 3:08 keeps it from becoming dull or repetitive. The other 9 tracks contain heavier, fast paced cuts such as album opener “Twisted Eyes” and album closer “Enter Reality”. There’s classic power metal numbers like “Sending You Back” or “The Return”. There’s also “Judas Immortal”, which mixes both the aforementioned styles with wonderful results, and the slower, insanely catchy song that is “Doomsday News”. The title track “When Eden Burns” is suitably epic, living up to its name with a wonderfully theatrical chorus.

For me, this album blows any release by better-known bands in the power metal genre like DragonForce or Sabaton. That is in no way intended to be a criticism of either of those bands as I like them both and think they’re both great and have put out some great material over the years. However with When Eden Burns Persuader have managed to release an album that maintains a consistently high level of quality, both in musicianship and songwriting, all the way through; in any genre that is a great achievement, and perhaps even more so when it comes to power metal. All of the songs on this album are expertly written and performed and none of them outstay their welcome despite 7 of them reaching over 5 minutes in length. A standout, at least with regards to songwriting, has to be “Judas Immortal”, which has two choruses (both ridiculously catchy); one chorus is repeated twice over the course of the first section of the song, then an acoustic guitar solo comes in, and the other chorus repeats until the fade out after it. It has to be heard to be truly believed and appreciated but rest assured that it’s brilliant.

In conclusion, this is an album that anyone who likes power metal, or even melodic metal, to any degree whatsoever, should listen to at least once. If you can’t take a little bit of over the top drama in your music then this may not be the album for you but I would still recommend you give it a shot, you might be surprised. Well done Persuader, for releasing an album which has truly set the landmark for the quality of classic style power metal.

Recommended tracks to check out: Sending You Back, The Return, Judas Immortal and Doomsday News


While I’ve liked everything Epica has put out up until this point I have to admit to never enjoying them as much as I felt I ought to given how much I like other bands in the same genre like Nightwish, Within Temptation and Delain. That all changed however when I first listened to The Quantum Enigma, Epica’s sixth studio album. Epica have always been called the thinking person’s symphonic metal band. This is mainly due to their highly intelligent and perceptive lyrics and their complex layering and intertwining of an orchestra, a choir, metal instrumentation and two different vocal lines. Epica have always managed to mix all these elements largely successfully and all their albums have received mainly positive critical and public reception.

However while I liked a lot of elements of Epica’s music and could appreciate their important messages and their technical and compositional ability their songs sometimes seemed a bit too long and disjointed for me. Before I heard The Quantum Enigma I had resigned myself to always feeling like I should like Epica more than I did and never completely loving any of their material. On this album however Epica have finally managed to do what I always thought they were capable of and produced an album I can immerse myself in and appreciate in its totality. Congratulations Epica!

This album doesn’t do anything radically different from their previous releases, it just does everything better. At least that’s my opinion. Simone Simons is still improving every album and is now surely in the top tier of female vocalists in metal; Mark Jansen’s growling is considerably less annoying than it has been in the past and is used in a much more sensible, effective way instead of being thrown in for the sake of it; the guitar riffs are heavier but at the same time more memorable and melodic; the drums perform everything from slow, meandering fills to occasional bursts of brutal, almost death metal like blast beats; the bass keeps the rhythm nicely; the orchestra plays interesting, multi-layered parts which are expertly composed and contrast with the metal elements of the music perfectly and the choir compliment both Simons and Jansen admirably whether they’re providing a backing for their lead vocal lines or alternating with Simons or Jansen (sometimes both!) to provide variety.

All of the songs on this album are of the highest quality so it would be impossible for me to pick highlights. Suffice it to say that there is a lot of variation in the songs on The Quantum Enigma and thankfully little repetition of style. You have the short, epic instrumental pieces such as “Originem” or “The Fifth Guardian”; you have the riff-heavy, blast beat laden yet still somehow catchy cuts such as “Victims of Contingency” or “Chemical Insomnia” and you have possibly Epica’s most beautiful ballad in “Canvas of Life”.

There are also the longer, winding, mid-tempo builders like “Sense Without Sanity (The Impervious Code)” and “Natural Corruption”. Then you have the two singles, “The Essence of Silence” and “Unchain Utopia”; the former, while containing one of the highest dosages of harsh vocals on the album, still manages to be infectiously catchy and was a good choice for lead single; the latter, on the other hand, is a hook filled choir fest which sounds horrifically overblown but is able not to be too cheesy thanks to its serious, meaningful lyrics.

Finally you have the title track. Clocking in at almost 11 minutes I assumed from past experience that this would be a slightly boring, overly long song with unnecessary sections of irritating growling that tries to fit too many ideas into one track and ends up falling flat. The short version, I was wrong. The slightly longer version, I was very wrong. Firstly, the only growling on this track is backing up Simone or the choir (thank God!) and secondly, the song has one clear theme running through it which prevents it from feeling too cluttered.

https://www.youtube.com/watch?v=1ag1w6_ILUs

This is the epic song that I always knew Epica were capable of. In fact, this is the epic album that I always knew Epica were capable of. With this release Epica have finally completely lived up to their name and produced one of the albums of the year. Buy it. That’s a direct order, do it now…

There are already many, many reviews telling you how incredible this album is but this album impressed me so much that I felt inspired to write something about it. I (and many others) consider this album to be not only Kamelot’s best album (however the rest of their stuff from The Fourth Legacy onwards is awesome too) but possibly the best power metal album ever released to date. That’s how good this is. This is what power metal is meant to be like. This is power metal done seriously by a group of very talented musicians with real passion and skill. This is also most cohesive concept album I’ve ever listened to. I won’t go into the story as it’s been explained much better elsewhere, if you’re interested there’s a summary of what happens in every song on Wikipedia, but suffice to say it’s a great story based on Goethe’s classic Faust and is very well depicted through the music and lyrics.

Since this will end up being at least a 10 page review if I don’t focus it I’m going to go through some of my personal highlights from the album:

“March of Mephisto” is an odd but fantastic way to start an album. It’s a mid paced song with a great marching drum beat courtesy of Casey Grillo and it gets me head banging every time. It starts with just the drums and strings with the guest vocalist for this song Shagrath (Dimmu Borgir) shouting over the top. Then the riff comes in and finally we’re introduced to the exquisite vocals of Mr. Roy Khan. This guy is phenomenal. Every note he sings oozes emotion and he does it with such ease that it’ll leave you awe struck, not to mention he has great stage presence and charisma (just check out the One Cold Winter’s Night live DVD for proof of this) and is surely one of the best metal singers, certainly in modern times.

“The Haunting (Somewhere in Time)” was the first Kamelot song I heard and so holds a special place in my heart. The song begins with some nice eerie electronic effects and then the guitars, drums and vocals come in and the moment where Roy Khan enters with the line “Merely the sound of your voice/Made me believe that you were her” is brilliant but is just a taste of the epicness that is to come with the rest of the song as a super catchy chorus and sweet guitar solo are just some of the highlights of this magnificent song. If it’s possible about halfway into the song it gets even better just before the second chorus Simone Simons (Epica) lends her beautiful voice to the track and harmonizes perfectly with Khan’s lower register.

https://www.youtube.com/watch?v=qmy61wRBbLY

“Soul Society” is a faster, more upbeat track with some excellent lyrics about the meaning of life and the nature of humans such as “How could I be condemned for the things that I’ve done/If my intentions were good?/I guess I’ll never know, some things under this Sun/Can never be understood” and “How can we believe in Heaven?/Human reason counters all/Ideas of a soul society/My life is just a fragment/Of the universe and all/There must be more than I can see”. Put that in your cheese grater and super speed it DragonForce! This is another top notch song that’s catchy and memorable without sacrificing quality or complexity, something Kamelot are especially good at.

https://www.youtube.com/watch?v=OFNRpYGW6L4<

“Abandoned” is a gorgeous ballad which shows off Khan’s breath taking range and raw emotional power even better than the rest of the album. The lyrics are heartfelt and touching and the way the music slowly builds up keeps if from getting repetitive. This song features an appearance from Mari Youngblood, the wife of guitarist Thomas Youngblood, who has a lovely voice and adds depth to the song. This is how a power metal ballad should be.

https://www.youtube.com/watch?v=A_pSfBZbxTw

“The Black Halo” is a fast paced song with great guitar work by Thomas Youngblood and a mind blowing chorus which has a line in it that is currently what I would like to have engraved on my tomb stone; namely “Darkness come tonight/I have no fear of what you hold”. Not much more to say except it’s the title track so you’d expect it to be a stand out and it in no way disappoints.

“Memento Mori” is my final highlight from the album and boy where do I begin with this one. Clocking in at just under 9 minutes at the time it was the longest song Kamelot had ever recorded. It starts gently with just Roy Khan and a piano but quickly builds into a great guitar riff and the fun begins. The term “sweeping epic” hardly does this piece of art justice but it’s the best way of expressing it. This track also features brief returns of Shagrath and Mari who both help take the song to the highest echelons of power metal. The song also has a haunting chorus with the memorable line “I’m still the God in my own history/I still believe that she will come to me” and really does justice to the dramatic climax of the story.

I’ve only mentioned 6 songs but rest assured that all the others are flawless as well. Roy Khan will take you to another world with the power of his voice. Thomas Youngblood is a rarity in power metal in that he knows how restraint is just as important as talent. Casey Grillo provides drumming well above the double-base filled norm and Glenn Barry gives each song a rock solid rhythm to build on. This album is extremely highly recommended for any fan of melodic metal or indeed any fan of music in general. Kamelot have spoken, you must buy this album and believe me, I speaketh the truth!

Any Nightwish fan who looks at the track list for this album will instantly notice that a lot of Nightwish’s well-known and classic songs are on this album. For example Dark Chest of Wonders, Wish I Had an Angel, Nemo, Planet Hell and of course Ghost Love Score are all on Once. Looking at that list I just typed I can divide those songs into two categories; Wish I Had an Angel and Nemo are both well-known because they were successful singles whereas Dark Chest of Wonders, Planet Hell and Ghost Love Score are fan favourites and often considered classics.

Based on the singles I can see why a lot of people thought this album was Nightwish selling out or going commercial. However if you listen to the whole album it becomes apparent that Nightwish have by no means sacrificed quality for radio play. The sound of this album can be described by one word; full. The London Philharmonic Orchestra provides the bombast on this album and since they were the orchestra who did the Lord of the Rings soundtrack it’s safe to say that the orchestral arrangements on this album are breath taking. A prime example of how to use orchestra in metal is Ghost Love Score which opens with a choir over strings and a horn. The beginning of that song blows me away every time and then when Jukka’s drums come in to punctuate the choir, soon followed by some nice guitar work from Emppu the song gets even better.

The intro is so good that when Tarja comes in over the band and orchestra the first time I heard the song I actually thought that it was impossible for a song this good to exist; the vocal melody is just so beautiful. Obviously in retrospect that was taking the praise slightly too far but this song still impresses me each time I hear it. There’s then a very lovely sounding instrumental break which never gets boring thanks to the lack of any repetition. However there’s still more awesome to come! After the instrumental section Tarja comes back in with the line “Leave me be or bring me home” which sends shivers down my spine and conjures up an image of a lonely ghost trying to find its way home.

I wish I knew how Tarja manages to sound so sweet and innocent but also incredibly creepy in the next bit of the song. It helps that the lyrics are suitably sinister; “Take me, cure me, kill me, bring me home”. The song closes with more brilliant use of the orchestra and that gorgeous vocal melody courtesy of Tarja again.

I may have ended up getting a bit overexcited about that song but it’s a fantastic example of why Nightwish and this album are brilliant. Ghost Love Score could have all the vocals stripped away and it would still be an amazing piece of music. The reason for this is that Tuomas Holopainen, the keyboardist and songwriter, is a wonderful composer and this shows in their music. He knows just how to arrange a song so that it never gets boring or too repetitive.

Dark Chest of Wonders is the perfect introduction to the album, opening with a whisper of “Once I had a dream, and this is it” before breaking into a catchy, heavy guitar riff with more tasteful use of the orchestra and choir. Then Tarja comes in with the verse and we get another memorable guitar riff before it breaks into the epic chorus which features some nice fantasy lyrics; “Fly to a dream, far across the sea/All the burdens gone, open the chest once more/Dark chest of wonders seen through the eyes of the one with pure heart/Once so long ago”.

I imagine most people reading a Nightwish review have heard Wish I Had an Angel and Nemo so I won’t spend long on them. Wish I Had an Angel is a catchy song which sounds like a mix of Nightwish and dance music. To me this is not a bad thing and although I can see why some people might dislike this song I actually really like it, especially the combination of Marco and Tarja’s vocals on the chorus. Nemo is a top notch power ballad with one of the simplest but most moving piano melodies I’ve ever heard. Tarja’s singing is spot on in this track and to me it’s a toss up between this and Ever Dream for best Nightwish power ballad.

There are two other songs I want to talk about and these are Planet Hell and Creek Mary’s Blood. Planet Hell is one of Nightwish’s heavier songs. It starts with a pounding drum beat with a choir chanting over it before all hell breaks loose with a sweet guitar riff. Marco handles the first verse aggressively and powerfully, Tarja takes the second verse in a suitably sinister manner, Marco and Tarja each deliver another verse and then we get to the best part. The chorus. This is one of the catchiest, angriest choruses Nightwish have ever written in my opinion. The way Tarja and Marco both handle the first two lines followed by a solo line from Tarja makes for an excellent contrast. This song also has some very good lyrics such as “Save yourself a penny for the ferryman/Save yourself and let them suffer”.

Creek Mary’s Blood is the other lengthy song on the album, clocking in at just over eight and a half minutes, but it’s worth every second. They got a Native American musician, John Two-Hawks, in to contribute Native American instrumentation to this song and boy does it work. He was a fitting choice of guest musician since the song is about the Native Americans being kicked off their land. It’s a very emotional song with a memorable chorus and a beautiful guitar solo. It also has a John Two-Hawks reading a poem in the Native American language at the end which acts as a nice end to the song.

Other tracks which get honourable mentions would be Siren, Dead Gardens Romanticide, Kuolema Tekee Taiteillijan and Higher Than Hope. Siren sounds different in a good way with some interesting vocalisation from Tarja and a nice chorus sung entirely by Marco. Dead Gardens is a heavier song with some nice keyboards at the start and good guitar work, a hidden gem. The lyrics are about writer’s block I believe. Romanticide is a live favourite. It’s probably the heaviest song on the album with the instrumentation bordering on thrash metal at times, however the ever melodic vocals of Tarja make for a good song with a catchy pre-chorus and of course an epic actual chorus too. Kuolema Tekee Taiteillijan is a beautiful ballad sung completely in Finnish which sounds different but very good. Higher Than Hope is the album closer and it does well to round off an amazing album in a relaxing way with yet another catchy chorus provided by Marco.

In conclusion this is an incredible album and any fan of metal or classical music should give this album a try because it’s a masterpiece. My only criticism is the track order, I think that Ghost Love Score should be placed last because anything else seems weak and unmemorable after it so the two songs after it seen worse then they are if the album is listened too in the original order. However this is a small gripe given it’s easy to play the tracks in any order. Why am I still typing? I should be listening to Ghost Love Score. Just go buy the album!

Welcome to my blog about many hopefully, but probably not, interesting things. My name is Bethany, I’m a teenager. That’s about it for the introduction. Now I’m going to kick off this blog with an album review of an album most people have probably not heard of by a band most people have probably not heard of, so on with the review:

Band: Seven Kingdoms

Album: The Fire is Mine

Genre: Power/speed metal

Label: Nightmare Records

Amazon page link: Here

Wikipedia page link: Here

Seven Kingdoms website link: Here

Nightmare Records website link: Here

Track-by-track review:

  1. Beyond the Wall – This track is just an intro to the album but it’s a nice starter – n/a
  2. After the Fall – This is the true opener of the album. A great fast song with a memorable chorus and great drumming – 9.5/10
  3. Forever Brave – This song isn’t as good as After the Fall but it’s still good. It’s a good example of the band’s overall sound – 8/10
  4. Flame of Olympus – A great guitar intro and lead singer Sabrina Valentine’s voice sounds even better than usual but not quite as memorable as some of the other songs – 8/10
  5. Symphony of Stars – Good song with a memorable, er, shriek, no, note from Sabrina – 8/10
  6. The Fire is Mine – The second Game of Thrones themed song on the album (the others being After the Fall and The King in the North) as well as being the title track and it doesn’t disappoint. Great guitar work and drumming and a great chorus make this one of the standouts – 9.5/10
  7. Kardia – The first and only ballad on the album and despite my worries that it’d be too soft this is one of my favourite tracks on the album and when the heavier bit kicks in near the end it doesn’t feel out of place or stuck on for fun, it just makes the song even better – 9.5/10
  8. Fragile Minds Collapse – I can’t help but feel that your mind will collapse if you listen to it too loud. Three words to describe this song are dark, heavy and epic – 9/10
  9. In the Twisted Twilight – This song is twisted but it’s another dark epic – 9/10
  10. A Debt Paid in Steel – A spoken interlude but it’s a much needed break – n/a
  11. The King in the North – The third and final Game of Thrones themed song and it’s a very worthy and epic album closer – 9.5/10

Overall: 9/10 – Highly recommended