More guitar soloing than usual is employed, and it too is combined with the ethnic elements, as well as violin and a lot of piano. Laurie Ann Haus also happens to be a very talented vocalist, and one who keeps her delivery varied enough to avoid seeming unidimensional -- she does everything from ethnic to operatic besides her standard singing in this album.

For some, all of this may result in a hodgepodge of unconnected influences, but for the most part I find Todesbonden's mixture works quite well. While it is certainly true that a vast array of ideas are given time here, in the end I feel the album is a little too long for its own good, as some of the compositions go on for longer than they are able to sustain this listener's interest. A stronger guitar and drum sound would also have helped some sections substantially, although I understand that is not the band's main focus. Nevertheless, there is a lot of good musicianship and quality material here for those interested in all things operatic and/or ethnic to sink their teeth into.