| 1. Rites of Passage |
| A short instrumental intro. |
| 2. Heaven Denies
|
| Fresh and disruptive, the song starts with a very fast rhythm and a lead guitar in perfect Iced Earth-style, but only to make room for the frenetic verse where the hypnotic voice of Hansi stands out. A very good song to start the album. |
| 3. Poor Man's Crusade |
| Characterized by a rhythmical and rocking walking, the second song in the album hits for the tension it succeeds to create verse after verse. Particularity of the song is that when the tension reaches the top it does not flow into the foreseeable epic and screaming refrain, on the contrary into a depressive chorus in which Hansi sings afflicted and resigned. Not as good as Heaven Denies, but still a good one. |
| 4. Fiddler on the Green |
| Song divided into two parts. The first one acoustic completely, dreamy and evocative, true bard-song.Just a soft lead guitar accompanies the voices on the acoustic carpet of Schaffer. After about three minutes and a half the distortion explodes, but the lead melody remains unchanged. The second best song on the album.
|
| 5. Blood On My Hands |
| So we come to the other Metal ride, the one present in the album along with the starting episode. Strophe supported by the double bass drums, evocative bridge with arpeggios, chorus in Blind Guardian style where the influence of Hansi becomes more evident.
|
| 6. Path of Glory |
| So we come to another semi-ballad, where the acoustic and sad verses act as counterpoint to the distorted and rocking chorus. The song is very simple, minimal both for arrangements and structure, but it's really thanks to this simplicity that it has the power to enchant in an unbelievably way. |
| 7. Winter of Souls |
| Sounds become at once more electric but rhythms remain contained. The song recalls in an evident way the melodic constructions of Blind Guardian, and in fact this is the only episode where the influence of the German band rises in a predominant way. |
| 8. the Whistler |
| Silent and dark start entrusted to the soft arpeggios by Jon Schaffer. Tension increases bluntly after not even a minute, but the songs does never accelerates alterning electricity flashes and moments of bigger acoustic quiet. Not as successful as the other songs. |
| 9. Tear Down the Wall |
| Tear Down the Wall is simply the best song on the album. Built on the contrast between the contained verses in which tension is taken to the top and the epic chorus to scream at the top of one's voice�a not so innovative construction but anyway perfect that exhalts the nicest refrain in the album. Involving never foregone epicness. Effective and misleading final acceleration. |
| 10. Gallows Pole |
| The huge epicness of the previous episode turns into suffering melancholy. Alternance of feelings of rage and quietness in the verse (even characterized by the huge use of effects) that turns into a chorus of huge melancholy, almost a fitting lullaby with the story told. |
| 11. My Last Sunrise |
| Last episode of the album and even first song that the couple Schaffer/Kursch has ever written for this project. It recalls the gloomy atmospheres of the previous episode, but it is characterized by a less convincing and effective walking. Not a very good ending to the album though.
|
| 12. Chant |
| A short ending istrumental |
Comments edited and added from a review by Silent Scream Webzine, read the full review here.