On the first side "O fairest of women" standing forth for being observed, is revealed with powerful mystical sonic displays, leading to a romantic hymn of weaving guitars trough the more vividly twisting amplified opening track. The vocal presence is also now stronger than on the earlier record "Einsjäger & Siebenjäger". Oriental sound textures merge wonderfully to the guitar and percussive driven sounds, allowing glimpses to similarly holy and sensual visions. Both album sides culminate to an impressionistic still life of King Solomon, centralizing as the kind king reining the kingdom for supreme praises of feminine adorations. The first evocation of the Son of Salomon is encircled by some sort of visions of nocturnal alleys. I believe these parts describe the dreams of poem's maiden searching her lover from the nocturnal streets. On the first dream she finds him, the wedding progressions leading to first encounter of the son of David, and the second dream denies her lover's discovery, leaving her alone with the city guards. The first vision of Solomon flows with most sacred solemnity, reaching ultimate heights of sanctity trough weeps of guitar and divine singing, the night visions around him being first quite fearful, second run escaping to joys of on drum supported rock melody explorations, thus possibly studying the tale from reverse chronology.

On the second side of the album the winter has passed after the night's dream sequences, the rains being over and gone. Indian tabla and sitar dialogue is introduced here to the music, exploding as really euphoric all-loving tonal art expression. The blossoms of poetic genius bloom on the descriptions of lively vineyards, representing the fair woman appreciated; "How much sweeter is your love than wine", these lyrics hovering on the wings of truth towards the infinity. The second apparition of King Solomon might be seen as governor of these vineyards and lands, the holy grandiose theme studied now both trough the licks of the sitar and full presence of the orchestra repertoire, embodying as a powerful mythic oriental colossus, protecting the gardens of love with firm soul of kindness. Instead of governing vineyards and the lands, the mortal male character of the poem is satisfied the vineyard being the woman of his love; "You drink me with your kiss", closing the record with the ecstatic determination of rolling forward on the path of life, blessed with gift of love's bounds.

I consider this clearly thematic album as musically masterful accomplishment, culminating the spontaneous musical ideas to more concrete end result than on the few earlier recordings. It can certainly be rejoiced as earthly or spiritual sensation, still in my opinion honoring the ancient traditional concept aiming to the kind loving aspects of mankind, refreshingly instead the usual mad violent dreams of megalomania. Also the minor discontinuity of spontaneous musical realizations through fade-ins and outs flow here more smoothly than on the earlier record, maybe due more powerfully dominating presence of loving adoration on the sonic aims, the general calmness of the whole album, and by support of clearer record theme. I would recommend especially this album along with "Hosianna Mantra" from Popol Vuh's wonderful album repertoire for those in need of healing freely flowing progressive rock music.