Elevation
Our rating, out of 100 — and why.
AI-generated from five scored dimensions. An opinion, not a measurement.
The classical interlude gives the concert a clear structural hinge, while the long run of familiar songs makes it feel more like a set document than a tightly shaped album.
What we noticed
- The first five tracks are standard Accept songs before the set pivots into six consecutive classical selections, from “Night on Bald Mountain” through “Symphony No. 40.”
- After that orchestral block, “Princess of the Dawn” resumes the metal set; the remaining tracks run through older staples and newer material to “Balls to the Wall.”
- The arrangement puts orchestra and band on the same stage, giving the classical section and the familiar songs a shared live setting rather than separating them into studio-style parts.
- Composition 25% of the score
-
6/10
- Craft 20% of the score
-
7/10
- Durability 25% of the score
-
6/10
- Distinctiveness 18% of the score
-
6/10
- Sequencing 12% of the score
-
6/10
the writing — melody, harmony, structure, lyrics
production, performance, arrangement
whether it rewards returning to it
whether it sounds like itself
running order, pacing, length
Known within its scene. Reported but not counted — how far a record travelled describes its reception rather than the record, and a newer release has had less time to travel than an older one.
Tracklist
Best experienced from track one — press play and let it unfold.
Disc 1
- 1 Die By The Sword 5:31
- 2 Restless And Wild 4:30
- 3 Koolaid 5:05
- 4 Pandemic 5:59
- 5 Final Journey 5:17
- 6 Night On Bald Mountain 7:08
- 7 Scherzo 5:27
- 8 Romeo And Juliet 5:46
- 9 Pathétique 5:55
- 10 Double Cello Concerto In G Minor 3:40
- 11 Symphony No. 40 In G Minor 4:36
Disc 2
- 1 Princess Of The Dawn 7:36
- 2 Stalingrad 6:20
- 3 Dark Side Of My Heart 4:40
- 4 Breaker 4:30
- 5 Shadow Soldiers 5:59
- 6 Dying Breed 5:44
- 7 Fast As A Shark 4:50
- 8 Metal Heart 7:32
- 9 Teutonic Terror 5:42
- 10 Balls To The Wall 7:54
Reference: MusicBrainz · Wikidata
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