This album continues where "But, What Ends when the Symbols Shatter?" left of. Dark, toned downed and depressive acoustic muzak. This album released in 1995, have sparked extensive controversy over the years, mainly because of the title track and the track "Symbols of the Sun". Now when the Israelis have monopolised the word "holocaust" and everyone think of at least one thing that "symbolises the sun", this couldn't have come as such a big surprise to Douglas P and his companions. The passage "The swirling sound of swastikas like rotor-blades of thought" in the track "Lifebooks" might as well have added some fuel to the fires. The truth is that the lyrics of this album is very hard to interpret and probably only the authors know exactly what they mean, this fact making lame and politically correct criticism of the lyrics plain ignorance.

This album is not quite as good as it's predecessor but still a very worthy offering. Where the genius of BWEWTSS hits you right away this album demands a more thorough examination. If you don't give this album more then just a couple of listens the risk is that it is coming out a bit boring. I guess what I'm trying to say is don't get turned off by the first impression, this album grows remarkably after 10 listens or so. Albums that demand that you dig into its core generally last longer and make up for a more fulfilling experience. But, as said, if I had to choose between this album and it's predecessor it would definitely be BWEWTSS.

Musically the difference between the two albums is minimal. The difference is to be found within the compositions. With a lower percentage of really outstanding tracks this album resides on a level just below it's predecessor. But with excellent tracks like "Rose Clouds of Holocaust", "Symbols of the Sun", the weird "Jerusalem the Black", my favourite "The Accidental Protégé" and the extremely sorrowful and depressive "13 Years of Carrion" this really IS a GOOD album as well.

© 2001 herr nebelwerfer