Burn Witch Burn isn't around any more. For that matter, Razler Records isn't around, either. And, while Rodney Linderman would later perform some of these songs as part of 25 Cromwell Street, finding current information on that band is buried under the history of the address.

That said the music on the album was good, the lyrical content frequently dark and disturbing.

Burn Witch Burn starts off with a quick "Introduction" to set the tone. "Beaumont Arkansas" starts with mostly spoken verses by Rodney Linderman, smoothly switching to a sung chorus by Vienna Linderman. There is a driven beat to the music in "Kavorkian" underlying the slower phrasing of the lyrics expressing a death wish. Most of "Treetop Flotilla" is random words spoken until you get a short scene told frenetically at the end. The father in "Night of 100 Popes" is not a good man and the music makes the story feel older than in is, until the lyrics mention a box of pictures.

In "How Beth Found Fame," her fame comes when her body is found. The tempo picks up in "Flowers of Sulfur" with a part in the musical bridges emphasizing that something is wrong. The first part of "Ruffy Tuffy/At Work in the Factories of the Lord" sounds like it could be a traditional piece, the music carries the sound through the second part with the title aptly describing the content of the lyrics. "Cripplegate" is a song about a plague, with Vienna's delivery of the lyrics being more spoken than sung.

The music starts feeling more modern than anything else on the CD so far in "New Tsar & Catapult/Drowsy Maggie" before returning to a more traditional feel. (If "Drowsy Maggie" is traditional, the liner notes omitted this detail). They return to the split between spoken verses and sung chorus in "The Farragut Light" about a child that was rejected at birth because of how it looked.

The lyrics tell why the furniture is being painted in "Painting the Furniture Black/Harvest Home" before switching over to a traditional piece to close out the track. Which brings you to the only cover in the mix, "Citadel," which does a good job of moving the music to different instruments. It is also faster than the original by the Rolling Stones. The tempo slows right down for the instrumental portion of "The Mayor's Story" until the almost spoken lyrics kick in with their story about the disposal of a corpse. They close off with one last traditional song in "Parson's Farewell," a short and largely instrumental affair.

Overall the music is solid and good, what you might expect from folk music where the mandolin tends to lead the melody. Rodney Linderman's delivery comes across closer to spoken than sung. A handful of the songs are sung by Vienna Linderman. The deciding factor is going to be the lyrics and if you don't mind them sticking to the dark side, then you will probably enjoy the CD.