If you listen to the evolution of Seven Witches over the course of their five records, by this point the sound and style has become solid.  Jack’s guitar arrangements contain a groove that once you familiarize yourself with the Witche's music, it can be picked out like when listening to an Iced Earth record. 

If you listen to the evolution of Seven Witches over the course of their five records, by this point the sound and style has become solid.  Jack’s guitar arrangements contain a groove that once you familiarize yourself with the Witche's music, it can be picked out like when listening to an Iced Earth record. 

Opener and metal anthem “Metal Asylum” followed by the boldly titled “Year of the Witch” are prime examples of Jack’s playing and how his style has become solid as a rock.  Contrary to what most think, Seven Witches are not your traditional Power Metal band, they have little in common with the European sound (Helloween, Stratovarius, Hammerfall), though do include a few of those elements.  Witches work more along the lines of Tad Morose, Morgana Lefay, and Brainstrom, focusing more on the power and forcefulness within the songs.  Also this time around, Jack has included many more guitar melodies to expand the Witches musical dimension, as well as more aggressive guitar solos.  

The second half of the disc is a concept, telling the story of a boy named Jacob.   Speaking parts and guitar interludes tie each track together like W.A.S.P. did for the “Crimson Idol”.   The music itself does not detour from what the band does, but just acts as a complete listening experience.  Check out the riff to ‘Haunting Dreams” and its groove, rather ass kickin. 

 This is definitely the boldest piece of work by Jack Frost and has shown growth from the last release “Passage”.  Actually, when you listen to the title track to “Passage”, you can hear where Jack was taking Seven Witches sound to for this release, the tune acting like a “passage” between albums, interesting.