Walkthrough Growing. And then growing some more. A melody ascends as "Drakens Tarar" enters to finally blasts away with blinding grind (a song actually descending from the eighth track "Svarnatt"). This highly melodic song is the ultimate teaser and builds up expectations for what is to come like few other songs. The second track "Djavulen pa Engsoslott" is almost ten minutes long and more or less sums up Elvira Madigans extreme versatility and theatrical identity with a ghoulish and haunting tale during those minutes. The many turns and different parts of the song makes one easily forget it really is that long! And after it (finally?) ends a shorter more Speed Metal-ish song enters after boiling in a cauldron of dark ominous sounds. It is "Kottets Makt & Kvinnans Svek" and it leaves little time for contemplation. It is chaotic and the vocal lines are surprisingly good! The only breath one is allowed to eventually take comes in the form of two wonderful instrumental tracks with the first being "Gwenhwyfar". This fourth track clearly shows how ElviraMadigan is capable of at times stepping out of the more fast and heavy boundaries with disgraceful ease, and get away with it! The fifth´accomplishment: "Multna Sidor ur Min Dagbok" rounds everything off solely played on keyboards (also closely related to "Svartnatt"). Now, it is high time for "Mab" to enter, and she does so accompanied with a fresh new touch to the album; - a quite heavy beat and a more accessible structure. A great piece of Heavy Metal this is! The seventh track is the traditional "Sorgekvadet" which sets a deeply emotional mood to pave the way for the blasting "Svartnatt" - a song essential to the entire album with an unbeatable melodiscism and unmatchable intesity. "Ulv" immediatly takes over with initial melodies from "Svarnatt" while it eventually becomes a more heavy track with a slight progressive feel. An excellent riff (actually featured earlier in "Djavulen...") ends it all in order give way to to "Svartkonst & Tusenskronor" whose Speed-Metal melodies, fierce intesity and frightening tale are rounded off by a progressive ending. Another keyboard track "Aterbesok (repris)". The song does have close connections to "Djavulen pa Engsoslott" and therefor has a title referring to the "devil returning". The finale however, is rather unexpected. Once again Elvira Madigan gets away with steering the musical intentions rather abruptively in another direction. "Venus" is best given time, as a longer silence eventually provides yet another track (who shall yet remain nameless??).