Walkthrough There is not much malice or evil in the introductional track "Chrono Cross" (Y. Mitsuda) whose moody acoustic guitars and melodies enter in a very tasteful manner. It really doesn't feel like Metal at first but it elavates and turns up the tempo step by step. And how the melodies evolves throughout the song is just wonderful. Just then, the fastest track on the entire album enters at second place with the highly interpreted Tori Amos track "Iieee" which provides so much speed and screetching vocals that it almost becomes bewildering and dazzling. I wonder if the lady herself could ever imagine her own creation this "blasting". The extremely tasteful melodies of which many were featured vocaly on the original song are here transferred onto guitarsolos/hymns. As this song ends the bells of doom enters for a black-heavy version of a Scorpions original called "Alien Nation" (Schenker/Meine). The heavyness and more elaborate moods give - in my opinion - the track justice (even more so than the original). It is not particulary chaotic but instead provides a solid good rythm. But soon it is time to leave the world of the English spoken language and enter the realm of folk-pop originally performed by the Swedish band Nordman who here takes the form of yet another speedy track called "Under Norrskenet" (Wester/Backman). With the tasteful turns in the arrangements and the honest melodies it is a heavy metal track quite unlike its' original version. And the vocals are great! As we now have traveled rapidly through the first four titles the beautiful "At Zanarkand" (N. Uematsu) enters at fifth place. Hailing from the best selling PS2 title "Final Fantasy X" it is a beautiful piano track with a slight mellow feel and is immediatly followed by another instrumental whose mellowness takes a darker turn. "Jacobs' Ladder" (M. Jarre) hails from the movie with the same name. These two instrumentals make up an unmistakeably important part as "half-time". Suddenly, one is stricken by the revelation of how neatly weighed against itself and original this coversalbum is. It does in fact sound much like how an original Elvira Madigan album is crafted. Without warning "Spanish Train" (C. deBurgh) enters with extremely chaotic and dramatic arrangements. The story of the song guides the many moods. The tale of how the Devil and the Lord plays poker over the souls of men on the bed of a dying railwayman is indeed captivating. One track by Chris deBurgh did not in fact prove to be enough though, as a highly versatile trilogy now is about to enter. Entered is now also another captivating tale, this time about the Four Horsemen of the Apocalypse. It is a trilogy probably responsible for this albums very existence. One is introduced to the horns of the worlds end in the very distance and as "The Vision" continues pianos and vocals make up the first part of the tale. This trilogy is almost entirely sung without screetching vocals and is probably one of my prouder moments of vocal contribution. We are taken into "The Leader" and told how the riders arrive and how the rivers run red with the blood of the enemies. An amazing guitarsection ends the track (picked note by note from the original...) and the mellowness and emotional singing enters again in the form of "What About Me?". Once more the original solos prove so devastatingly great that there is no reason to "interpret" anything at a larger extent as the heavyness reappear. Mr deBurgh has given the metal world a true gem in my eyes, but it was never discovered by those who would probably apreciate it the most. I truly hope I have contributed in changing that for at least a few hungry souls. And well, there is not much else to tell than that the keyboard track "Prisoners of Fate" from the same PS videogame as the first track of the album comes from (namely "Chrono Cross") makes out the outro for the entire album with a basic really good melody. "Thank You" japanese composers for Your clarity and ability to catch such simple yet captivating melodies in a time of cheezy mainstream chewing-gum pop and criminally crappy bullshit from USA in the form of highly overpayed numbskulls from the slums burping to a drumbeat and legalizing (embodying) nonsensical agressive and talentless human folly. That's what I think of Rap! (and by the way, "rap" means "burp" in Swedish). And PS, just because one of these pathetic creatures is killed by his very own kin doesn't make him better! But wait, what does this really have to do with this album anyway?