Being a progressive metal band, Seven Tears enjoys acting unconventionally abstract by constantly focusing on atmospheric keyboards, snappy riffs, parching solos, and a singer that flies straight to Olympus. That stuff is cool, but here's a little kicker to analyze: it is poppy as f*ck. Choruses repeat on endless revolutions while Zoran Djorem whines like a child deprived of candy, but it only starts getting gayer from then on, as there can be no denying the utter easiness musically speaking or those mega-cheesy backing vocals. When hearing each song glorify these easy pegs infinitely, you just can't picture a real tangy effort. More or less, it's f*cking gay.

But Seven Tears' radio-friendly philosophy is not truly damaging or destructive after viewing it entirely; it is just something that grows on you after accepting their traditional memes. Because the modernization is overt, expecting loads of catchy choruses, hooky patterns, melodramatic keyboards, predictable alterations, poppy atmospheres, and simple instrumentation arranged around the lead vocals should certainly be considered, as that's basically how the album works. Saying so almost leaves an impression of negativity upon Seven Tears; however, I'm compelled to point out this certainly doesn't occur. Instead, these Swedes can manipulate around disaster, using powerful synthesizers, tasty solos, or poignant attempts at percussion filling to keep such simplicity interesting. Crisis averted, bitches!