"Twilight of Idols" is a complex album, describing path, thoughts and anxieties of the Man who is going to become the OverMan: the Übermensch Zarathustra, described in F.Nietzsche's philosophy. The path goes from relying on a creator that is an eternal and superior figure, going through the acceptance of a circular reality, until an endless repetition. The consequent void leads to the turmoil of a howling mind and its inner battles, refusing all the Idols, with the awareness to be unique and independents. The album contains eight tracks.

"31:8" leads off the album. It begins with the sound of running water and female chants, with some mean background ambiance. From there a bossy riff takes it forward. The male vocals are clean and overtly full of vibrato. It's a peculiar little song. "Humankind's Prerogative" opens with some meter shifting and thick bass notes. Though there are obvious Progressive elements, but I also hear some Power Metal elements, especially considering the vocals. The rhythms are nicely done and you can tell this is a seasoned act. "Into the Battle" begins with another groovy riff, and some real energy. The vocals move into a more harmonic pattern, but the near-rapped effect is something that I could do without. I love the ambient movement that occurs just after the half-way mark.

"Circular Reality" opens with a dissonant riff and the vocals offer a bit of melody. It slows to an ethereal groove, and I really like this sound. It waxes and wanes a couple times throughout. The title track begins with a slower and heavier riff. It's mired in darkness and the staccato attack of the guitars created this nice little groove. The chorus is rich and full but just fails to reach the emotional mark I had hoped for. "Void Inside" begins with a more ominous sound and builds in layers. The rhythm guitars work very well with the bass, and the shifting of the meter is indicative of a band that has some synergy. However, the slower parts of the song are just not for me. Pick it up and run with it I say.

"Howling Mind" opens with a quieter and more pensive sound. The clean guitars paint a picture of desolation. But again, though the song begins with potential, it never quite reaches an emotional peak I was waiting for. "Animal Shape" closes the album, with more doses of dissonance. They flex their muscles in the rhythms here, but the rest of the song is oddly peculiar. I am just not sure what to make of it. I think in general, the lack of big melodic moments detract from the song and on the album.

The bassist really does a nice job on the album, laying down fat and meaty notes, and the rhythm guitars are tinged with just enough attitude. The band plays very tightly together and are talented musicians. The harsh vocals that dart in and out are just enough to notice, but I question their need on the album. Melody is present but not overly done...perhaps a little more would really move the album forward. It's pretty clear that the band centers around the vocalist. He has nice control in both the upper and lower ranges, but you really have to love vibrato to connect with him. This was an intriguing sound, and I would love to hear more of the band. For now, this was a good release.