After the release of “Going Nowhere” and its relative success, we set about our second opus, immediately agreeing on the theme that would tie up all the songs: the night. “When Daylight Is Gone” has a generally deeper, darker, heavier instrumental contribution while maintaining its clean, character driven and poetic lyrics and a more melodic vocal style. 　　 　　The album in general has more of a progressive influence, especially in instrumental parts, while we made the very willing choice of leaving choruses as open, melodic and catchy as possible, while still remaining in context. 　　 　　Closer to our power metal influences, songs like “Lightyears” and “The City of Amber” are excellent examples of what our main influences have been in the past and what our foundations continue to lay on. The regular structures and Maidenesque homages are clear to be heard, but mixed with modern, electronic influences (In the case of “Lightyears”) or dark, complex riffs and verses, such as the odd-time signature tritone in the first verse of “The City Of Amber”. Thematically, the first piece is about an astronaut who’s been lost in outer space for so long that space and time are starting to fade, along with his sanity, in the endless night, while the latter explores the paranoia of a night in a metropolis where buildings and walls seem to listen and watch people as they go about their daily lives. 　　 　　Particular mention must go to “Vantage”, a song all about escapes, memories and fast cars racing towards the sunset. It was originally an idea by our good friend and fellow musician Andrea Massé, who gifted us the basic idea for the song and gave us permission to transform it as we saw fit. The result is possibly the blueprint of what we wanted to do in this album: to take the classic, power metal sound that defined our first album and update it to match our newer, more mature selves as well as embracing the more modern nature of metal. 　　 　　“Dead” and “That Burgundy Book” are definitely on the weirder side of “When Daylight Is Gone”. The former is, admittedly, a huge <good riddance> to some of the people who have crossed our path in recent years while the latter is a homage to good storytelling, with little quotes and homages hidden here and there in the lyrics and melody. Both tend to forgo regular structures in favor of a flowing, diverse set of verses, held together by the choruses. 　　 　　On the extremes of the album are “Carnivore” and “Moonchaser”. The first is by far the heaviest and darkest of the bunch, with hard, complex riffs and a generally hard-hitting feel. The first verse is notable for its use of metric modulation while the lyrics, which follow the transformation of a werewolf from man into beast, are distinguishable in their use of aggressive alliteration in the latter part of the second verse. “Moonchaser” on the other hand, is by far the most progressive sounding song. Its lighter, more playful tone is present throughout and makes is stand out, while the lyrics and melody still keep it well planted in the nightly feel of “When Daylight Is Gone”. 　　 　　Last but not least is “When The Night Comes”. The big, open, theatrical piece. An ode to the night itself and how it makes us feel, to the passions and oddities, the neon-lit streets and the dangerous shadows. Although it is not at all a ballad, this song has something romantic about it in its core, with its use of choirs and pianos, catchy melodies, distinct rock sounds and passionate lyrics. With a more regular structure and opener sound, this is a bit of a throwback to our origins while still being a link to our future, a true expression of our will to discover what happens “When Daylight Is Gone”.