"Welcome to Part II. This was a project dear to my heart. While our main musical outlet is still black metal, all of us are listening to a lot of different genres and I am always fascinated by the emotional impact other forms of music can have on my soul. This is an experiment. To walk outside of the known paths, to search for other means of expression and to look at our songs of "Knochengesänge" from a different angle. We tried to tear everything down to its basic core and to create something new and different from the ruins of these songs. Every tune on this record has its root in "Part I," but at least for some of it the ruins were reformed into something completely different. The idea and the feeling at its core are still the same, but the result hopefully gives you a different perspective. We know this record is a challenge. To you, the listeners. But it also was a challenge for us."

The album has seven songs, and "Das Klagelied der Krahen" is first. Out of the gate, it has solemn tones from clean guitars and strings, and baritone based clean vocals. It sounds like weeping to me, or maybe sentimental expressions. It is calming, but also a bit tense. "Frankfurt, 19. Marz" has a firmer structure from a dense guitar presence, but it remains quite melodic. The slow pace allows the somewhat despondent sound to soak in, and the vocals carry much of the emotion. It drips with feelings of regret and loss. "The Little King and his Architect" is where the skies lighten a bit. The grey landscape of clouds still hangs thick overhead, but there are moments of sunlight as well. He seems to cry out to the sky, but doesn't ever hear anything back, and the emotions grow with intensity as the track continues.

"Crusade in the Dark" has a more traditional Black Metal sound, but still retains a lot of melody. The backbone is thicker at first and it breathes, and the ending is sweet; almost comforting. "In Lethes Fluten" is dreamy, ethereal, and welcoming. The strings and clean guitar tones make you drift off to sleep, and have fond dreams. Still a bit sad, it opens up your experience to interpret the song in your own way. I find it quite beautiful. "Singing of Bones" has melodic strings and solemn vocals, and is high with emotions. It's introspective, and also charming. "The Parting Glass" is the final offering, and it's mostly an a capellla vocal performance to put a final stamp on the album…"a parting glass" if you will

Although this is a Black Metal band, consider that term quite loosely when listening to the album, especially considering the recent bending of these once rigid genre rules. What you won't find is screaming, thick, aggressive guitars, and blast beat drums. What you will find are emotional songs with depth, with meaning, and with distinction. There are a lot of mysteries buried within the album, and it was fun for me to try to unravel some of them while letting others remain.