Just as the name suggests, "Dismal Euphony," hailing from up north and inspired by the black metal surroundings, paint a bleak musical portrait on "All Little Devils." In so doing, they also release an aura of inspiration, thanks in part to a pretty vocal performance by Anja Natasha, and a charming blend of pop, Goth, and traditional metal culture, lending to the overall picture that might otherwise consist of a full black background spattered with bright colors. "Victory" leads the charge into a full blown attack against indifference, all guns blazing amidst a glorified chorus and promising guitar work that comes out of nowhere from the distance, sending the opposition hurtling in the other direction. "All Little Devils" as a song almost starts out in a manner that can only be, and shouldn't be, described as "sweet," later dominated by a barrage of double-bass and dramatic orchestration, while again utilizing a strongly backed chorus led by Natasha, ultimately bringing this one into the forefront as one of the album's best. What I've noticed, rather sluggishly, here I am the fifth song in, is that "Dismal Euphony" is a truly standout performer when it comes to creativity, because with each subsequent song, there's a different element to direct your attention to. First it's the chamber music and synthesized echo which are always present, but to different stages of effect, then the awesome intensity coming from the guitar, overdubbed at times, but easily verifiable in the traditional metal sense. Then, of course, we've got the singer, who's not dissimilar to many female fronted Goth/black metal bands, but it's her delivery that grows quickly from a soothing whisper to a fear-inflicting scream that'll captivate your nervous system before returning to a calming effect at the start of the next song.

The album ends quietly with "Dead Words," a highly orchestrated piece led out slowly with piano before fading into the fast approaching darkness, an antithesis to how "All Little Angels" began nine songs earlier. . .