Interviews: Symphony Of Destiny

On this new occasion, we have had the opportunity to interview again the Symphonic Metal band, Symphony Of Destiny, from the USA. Check out the interview and follow the band on their FACEBOOK PAGE.

1. “Rampage (Bastet)” continues your Egyptian mythology arc — what drew you to this concept, and how do you weave it into the music?

Originally, I wrote and recorded the guitar tracks and programmed the drum tracks first before naming the song and blending the back story with the song itself. The way this song got its name is actually a bit of a funny story. One day, when I introduced this song to my bandmates, I mentioned that this song ‘zooms’ because it is at 192 bpm, which was faster than any other song we had played. When our bassist at the time heard me say that, she said, “Zoomies? Like cats with the zoomies?” Since that day, this became the inside joke behind this song. But my point behind bringing this up is that this is how Rampage got its name. Rampage is a name we tie to the word ‘zoomies’ with cats, but we needed a way to tie this in with Egyptian mythology. By coincidence, there is an Egyptian goddess of cats named Bastet, and she had quite an awesome story about defeating Apophis, who is basically the final boss in Egyptian mythology. In the end result, the song is about Bastet’s story about defeating Apophis in the form of a rampage, but secretly, it is about cats with the zoomies.

2. How does “Rampage (Bastet)” build on your debut single “Exile of Horus”? 

“Rampage (Bastet)” is a contrasting theme from our debut single “Exile of Horus” because “Exile of Horus” was a song that introduced the world to Symphony of Destiny with a heroic symphonic power metal feel, with a positive message behind it. “Rampage (Bastet)” is a totally different feel that includes elements of having a doomy/symphonic metal intro, and thrashy sounding riffs, which focus on being ferocious with inevitable intent to defeat an opponent. Another way this builds off of Exile of Horus is that Rampage (Bastet) is a much faster song as well. It is a symbolic way of showing that we are picking up speed by getting more serious as a band, saying, “We are back, but this time, with claws!”

3. Can you walk us through the creation of the single, from writing to recording and orchestrating the cinematic elements?

When going through the process of writing this song, I started with the guitar riffs as usual, since I am a guitarist. Next, I programmed the drum tracks under the guitar riffs. Not just a simple metal drum beat, I programmed drum beats that actually complement the guitar riffs, to sound like the guitar and drums are having a conversation with each other. Next, my bassist and I picked a day when we would meet up, and she recorded her bass riffs. I coached her on how to play the riffs for each section of the song. In other words, I told her what to play, but she played it. After this much work has been done, is when I lay down the symphonic elements. You think the symphonic elements would be created sooner in the process, but I specifically do this later so I can complement the aggression already established in the song with appropriate orchestral accompaniment. Once that is established, I gave this progress to my drummer to learn, then made his own arrangement of playing the drum parts, while I worked with our singer, Anne, in parallel on the lyrics. At this point in the EP, Anne writes the lyrics. I simply help her polish up the placement of the words and create timestamps throughout the song to make it easy for her to learn quickly. Once the words and the rhythmic spacing of the lyrics are established, Anne creates the vocal melody that she sees fit. Once the vocal composition is complete and drum arrangement is complete, the song is ready for the official recording process. Our keyboardist prefers to keep the symphonic elements that I program into the songs since both of us find that there is no need to make any changes.

4. Your upcoming EP, Heroes of Egypt, seems ambitious — how do you balance storytelling with keeping the music heavy and dynamic?

To achieve this goal of balancing the storytelling and keeping the music heavy and dynamic, I step back and look at the bigger picture of the songs as a whole within the EP. I ask myself, “What do we have? What could be missing?” Our opening song for the EP will be titled “Chariot of Ra.” This will be the instrumental song that sounds the most cinematic to make a strong statement to immediately let the listener know what more there is to expect from us. The remaining surprise is the powerful vocals from Anne in our 2 nd song in the EP, which will be our debut single, “Exile of Horus,” establishing the heroic theme. The 3 rd track in the EP will be our song, “The Riddle,” which is the most poetic song in the EP for a couple of reasons. The Riddle is about the story of the sphinx, who asked a riddle that nobody was able to answer for a long time. Almost every lyric line in that song has rhymes and has detailed dialogue, proving to have the heaviest “storytelling” aspect by word. In this song, it talks about the person who guessed the riddle correctly and lifted the curse in their home city. Last but not least, we have “Rampage (Bastet)” which will be our closing song in the EP, that is moving at high speed and aggression to end the EP with a slam dunk. When standing back and looking at the bigger picture, we have: Introduction, Heroism, Courage, and Inevitable Ferocity.

5. How involved are you in the visual and thematic aspects of your releases? Does the mythology influence artwork, stage design, or videos? 

When it comes to directing the creation of the visual and thematic aspects of the releases, I am 100% involved, because I need to provide a clear direction to the artists for the cover art, and what I want the images to look like to carry out the intended vision I have for each work. Between the black and white drawing artist and the colorist, I give both of them detailed instructions on what I am looking for, and we make changes along the way to make sure the work does the cover art justice. In terms of how the scenes are going to look in the cover art, I am also basically the person who has already decided what the end result will look like. What I normally do is I list out my ideas to my bandmates so I can get feedback from them. I do this often so I can keep them well-informed and avoid any objections they may have as bandmates. Currently, the mythology behind the music does not influence the stage design or our videos. It only has influence on the cover art for our releases. In the future, when we start looking into broadening our live presence on stage, we may start looking into incorporating our themes with our live performances. The same idea goes with our videos. Currently, we do not have any music videos, but soon we will start working on developing music videos. That is in the plan for the future. How far in the future? That is not yet determined. 

6. How did Symphony of Destiny form, and when did you realize you wanted to focus on mythology-driven symphonic metal?

Symphony of Destiny was formed in January of 2025. It started out about a year before that as a project that I was working on with music that I was composing that I wanted to use for serious purposes down the road. At the time, it was my bassist and me; she was teaching me the basics on how to use Studio One on a PC with an audio interface. I was interested in buying my own audio interface with a good recording microphone to record my guitar speaker tone, which ended up being a Shure SM57. For the next year, I was tinkering with recording and learning how to use Studio One for putting songs together. After a while, I had the riffs and the drum tracks established for the EP before the band was officially founded. The early versions of the songs for the EP were written by the Summer of 2024. During the early Summer of 2024, Anne was also recruited as our singer since I was looking for a classically trained singer. She found out about us through a mutual friend, to whom I mentioned what kind of singer I was looking for. This mutual friend just happened to know exactly who I needed for the project that eventually would officially become a band. Moving forward to December of 2024, our bassist ended up moving out of state, leaving us without a bass player. From that point on, I programmed bass tracks so we would not need to worry about looking for a bassist for a while. When our drummer, Patrick, was brought into the band, this was also through a mutual friend. I was at a show with this mutual friend, and he messaged Patrick at that moment, letting him know that I was looking for a drummer for a symphonic metal band. As I recall, he was immediately interested. We were put into contact, and he was brought into the band after his audition, which was very short since he clearly was an excellent drummer. Lastly, Tom appeared out of the blue. I had an account on Bandmix that stated that I was looking for musicians for my symphonic metal band, with the demo for Chariot of Ra on my page, and after developing interest, Tom contacted me asking if we needed a keyboardist. By coincidence, we did indeed need a keyboardist. By the time Tom auditioned in mid-February, it was Anne, Tom, Patrick, and I. Creating a 4-piece band, that was technically enough to start playing live shows. Once that idea was established, that is when I really started to move things along. During that month, February of 2025, is when Symphony of Destiny was established. The mythology-driven symphonic metal portion of the band was inspired by some other bands I enjoy listening to such as Amon Amarth and Sabaton. I thought to myself how I really enjoy mythology from different countries, and how well mythology fits in with metal. With that in mind, I decided I wanted to create a mythology-driven symphonic metal band. The symphonic metal portion of the band was decided from me having a music degree, and I really enjoyed listening to orchestras, and how much depth the music from a full orchestra had. That combined with my love for bands such as Nightwish, Epica, Delain, Eleine, Within Temptation, and many other great symphonic metal bands, I wanted to take that path, since it seemed to make such a strong statement. I wanted to write music that makes a strong statement.

7. How has your live performance style evolved since your debut, especially with theatrical elements? 

Our live performance style from our first show to our latest show, the concept has not changed too much. From the crowd's perspective, our performance looks the same, but the technology methods we have used have made gradual improvements over the past year. During 2025, we used a tablet to play mp3 files of our backing tracks to send to the sound guy. Now, in 2026, we have upgraded to a laptop, allowing me to use my DAW to control all of the individual audio stems to make sure we get the best mix possible for each show, and make slight improvements as needed over time. I have also included a compressor into our live sound rig for our vocalist, Anne, since her operatic singing style tends to overpower the mic by accident during certain moments. Using a compressor helps tame down the occasional volume spikes to keep her mix sounding a little more consistent. Later in 2025, I started including a high-velocity floor fan for the cheesy effect of my hair flowing in the wind, but also to keep me cool, since I heat up very easily, especially on stage. Our keyboardist, over time, bought a keytar to use for certain songs to add to the effect by making him mobile. During songs like “Exile of Horus,” we have a section where we play harmonies. That harmony moment is captured in many of the consistent pictures you see from our live performances.

8. What has been the most memorable show or moment in the band’s journey so far?

Our most memorable show by far was our latest show, as of the time of this writing. This show is when we opened for Daedric and The Birthday Massacre at The Canal Club in Richmond, Virginia. At this show, we played in front of the biggest crowd we have ever played for, and the crowd took us so well that we truly felt like the center of attention during the time we were on stage. We only had time to play 4 out of our 5 planned songs because we ended up starting late (we were ready to play at the designated time, but were asked to wait a little longer). But… after I notified the crowd that our time on stage was up, the crowd wanted one more song anyway, even when we were the opening band. For obvious reasons, I ended the set rather than playing one more song. From the time we walked off stage to the end of the show, we had constant compliments and occasional requests to take pictures with us. Perhaps the biggest flex for us that night is that someone actually attended this show just to see us; this person was not familiar with the other two bands, who were headlining. This person was already a fan following us on social media. We also had another audience member reach out to us ahead of time, asking about us, since he had not heard of us before. He immediately became a fan after he heard our set and wanted a picture with us after the end of the show. This worked out great because, naturally, I like to stay till the end of every show I attend, either as an audience member or a performer. What hit the hardest for this show is that we were on the bill for a lineup that had strong genre alignment. This was the main reason why the crowd took us so well. Normally, we are playing alongside hardcore and metalcore bands in Richmond. We are perhaps the only symphonic metal band in Richmond holding down the fort, with the exception of Invictis, who is a symphonic/power metal hybrid.

9. How do you maintain cohesion between the musical complexity and the narrative themes? 

My method for accomplishing this is constructing the songs one step at a time, then adapting as I go. Much like how I described the songwriting process in a previous response, I write the instrumental portion of the music first, then I do some research to find what theme fits the sound of the music created so far. Once I find a theme that I want the song to merge with, the crafting of the lyrics is important. Once our singer finishes her lyrics, I look them over and help arrange the wording and suggest some minor changes that will be made with her approval. The reason for this is that the theme may align with the instrumentation, but sometimes the story alone is not 100% of the energy; it is the delivery of the story that matters too. It is more of how the story is perceived rather than just hearing what is going on in the story within the song. The main goal when I try to maintain cohesion between the musical complexity and the narrative themes is to make sure both elements hit just as hard as one another. 

10. Where do you hope to take the band in 2026 and beyond, both musically and geographically? 

Moving forward in the year 2026, I plan to move the band forward musically by adding dedicated symphonic moments in the middle of the song rather than just at the beginning during certain parts. Right now, we don’t have any songs that have a symphonic intermission. Down the road, in my compositions, I plan to change that. Another aspect that I plan to add is guitar solos that continue to push my boundaries as a shredder. I aspire to keep improving my shredding ability, since I am a huge fan of all the great shredders such as Yngwie Malmsteen, Joe Stump, Gus G, Vinnie Moore, Paul Gilbert, Jeff Loomis, and many others. I love to use techniques that these guitarists use, because they are fun to play and sound pretty sick. As the songs move forward beyond the Heroes of Egypt EP, I plan to continue making the guitar solos sound more complex. Geographically, I plan on expanding the reach of where we play shows. We mainly play within the Richmond area, and once in a while, we drive out of town for 1 or 2 hours to play at a show. I would eventually like to play shows in different states, including the possibility of playing small East Coast tours. Of course, tours are a big commitment, so we would need to get strategic with availability and scheduling, since this would be a new thing we will tackle. I currently have no plans for an East Coast tour in 2026. My main goal in 2026 is to get into bigger events such as festivals, looking out for touring bands to open for, and possibly arrange 1 or 2 headliner shows that we would advertise heavily, just like all of our other shows, but with the approach of highlighting something unique we would be doing for that show. Perhaps a sponsor will be involved with the show, we will be giving away some items through a name drawing, or we will have new merch that is available for a limited time, ideas like that. As far as the internet side of moving us forward geographically, I will continue to advertise our content in different countries so we can expand our reach internationally, reaching potential fans in the right places who would want to follow us. This is important because in our local area, hardcore and metalcore reign supreme, and symphonic metal is a unicorn in Richmond, VA. In order for us to thrive, we need to look for fans in other places. I still think it would be valuable to advertise us locally, because after opening for Daeric and The Birthday Massacre, it was obvious that there are people within driving distance who would gladly become fans; we just need to find these people. 

11. Which bands, artists, or composers inspire your symphonic metal approach? 

The sources of inspiration I draw from for my symphonic metal approach for Symphony of Destiny are a bit all over the place. The composers that I draw inspiration from are composers such as Beethoven, Paganini, and Heitor Villa-Lobos. A fun fact about my influence from Heitor Villa-Lobos is the use of a spotlight section for the symphonic intro in Chariot of Ra. I learned about Villa-Lobos through my academic journey of getting my music degree when I was studying classical guitar. Villa-Lobos was a classical guitar composer, but he was also a cellist. The cello aspect translated to some of his classical guitar compositions by creating spotlight sections in the bass line, giving the bass the main melody, where the thumb would strike the strings on the classical guitar. Most of the symphonic intro in Chariot of Ra was inspired by either Beethoven or my love for eastern music and flamenco music through the use of the Phrygian scale or the Phrygian Dominant scale, creating an exotic sound to the music. Getting into the music theory aspect of this intro, I wanted to experiment with the string section during a certain part by playing harmonies by 6 th intervals rather than the common 3rd intervals we normally hear in many forms of music. I find harmonies of 6 th intervals to be underrated. Through the use of strings and choir in most of our symphonic intros mainly comes from my inspiration behind cinematic film scores. I find that just with strings and choir alone can make a strong statement without any help from other instruments. I do not have any particular film scores to note out that I can identify as inspiration for me, but I am sure that Hans Zimmer wrote about half of them, since you hear his music just about everywhere. Bands that I draw inspiration from are either melodic death metal bands, such as Arch Enemy, In Flames, or Trivium. I also have inspiration from other fellow symphonic metal bands such as Eleine, Nightwish, Xandria, and Seven Spires. Inspiration from Eleine was for the heavy guitar and drums aspect, while retaining the refined, clean woman vocals, but in this case, operatic. The operatic aspect of the songwriting came from Nightwish and Xandria during Xandria’s 2014 album Sacrificium, when they had one of their older singers who sang operatically. My main inspirations for the symphonic elements are from Nightwish and Seven Spires. Toumas Holopainen from Nightwish and Adrienne Cowan from Seven Spires are both gifted and talented composers who have a lot to offer when learning from their style and construction of music compositions. Eventually, as Symphony of Destiny’s songwriting evolves, I plan to write some compositions that sound grand on the scale of Ghost Love Score by Nightwish, or This God Is Dead by Seven Spires. Both songs by each band are symphonic metal masterpieces that capture the true meaning of symphonic metal, in my opinion. The symphonic aspect is far more prominent on average throughout the song; there are more symphonic intermissions, and the mood changes throughout the song. Much like what we would experience as we listen to a symphony from Beethoven or another great composer.

12. Do you have any dream collaborations — musical or theatrical — in mind? 

I do have some collaborations I would love to set up someday. A collaboration with our friends from Edolus for one of their Christmas song covers that they do by tradition every year would be a lot of fun! I would also love to do a collaboration with fellow symphonic metal band Valkyrie’s Fire. I would love to see what kind of masterpiece we can create together with our combined strengths. Aside from bands, I would love to see one of our songs make it into a video game one day. Anne and I are both gamers, and we love music that comes from video games and movies alike. An ambitious goal for a collaboration one day down the road is to pull a Metallica and play a concert with the Richmond Symphony. The difference is, we already have symphonic elements composed; they would just need to arrange them. You also see collaborations like this happen with Epica and Dimmu Borgir, when they play concerts with an orchestra behind them. I think that would be an absolute bucket list item!

13. Have fans ever engaged with your mythology in creative ways that surprised you?

The short answer is no. During shows and on social media, we have not seen any fans engage with our mythology in creative ways yet. That does not mean it will not happen in the future, though. Only time will tell if any fans decide to bring any interesting props of their own that we were not expecting before the start of the show. I think the most interesting thing we had fans do that was related to the symphonic metal atmosphere in general was have them do a circle pit with their pinkies out. This was an idea that Anne came up with since we were the “fancy” band on the bill that night.

14. Any behind-the-scenes stories from rehearsals or shows that fans would find interesting?

We do have a handful of interesting stories during rehearsal that fans may find interesting or even funny. Some of these moments include us experimenting and expanding on our live sound rig. One night, during band practice, we were experimenting with using a laptop for the backing tracks, rather than me using my tablet, and by accident, my keyboardist had a gradual accelerando from the start of the song to the end of the song. Meaning, the song gradually got faster as we played. It wasn’t until after 1 minute of playing that we all looked at each other, wondering if we were going insane, since the song was starting to feel faster. By the time we were at the end of the song, the song was clearly faster, because it sounded like Dragonforce doing a cover of Come Cover Me by Nightwish. I am pretty sure the tempo increased by a good 40+ bpm. Needless to say, we made sure that never happened again. Another time during a live show, I selected the wrong backing track for our cover of Rainbow In The Dark by Dio, and the tempo was about 20 bpm slower. It did not feel right at all; it felt like we were playing a doom metal variant of the song. I immediately stopped the song and started the correct backing track file after apologizing to the audience. It was great, though; everyone had a good laugh.

15. Which part of “Rampage (Bastet)” are you most proud of, and why?

There are two parts I am most proud of with “Rampage (Bastet)”, one of which is the symphonic addition to the intro. Before this addition, the intro sounded a little underwhelming, added the dark and doomy-sounding strings and choir to this intro really created an identity for this song. The guitar solo is the other part I am most proud of with this song. The guitar solo is actually a change I made to the song shortly before submitting it for scheduled release. I had a guitar solo that was already a part of the song previously, but this was a temporary placeholder; I needed something better that did the song justice. This new solo I created for the song was game-changing. It had a process to it that gave a clear progression as it was executed. The old solo was just a bunch of hammer-ons; this new official solo has arpeggios, scale fragments, and I even tap into using the Whole-Tone scale as a transition from one section to another section in the solo, which is something I have been dying to use in the original music! From time to time, I want to use scales and chords that are outside of the norm, that are from the more advanced side of music theory. This is me starting to do that. 

16. How do you approach writing music that’s both technically intricate and emotionally powerful?

The first thing to keep in mind when achieving this goal, to write music that is technically intricate and emotionally powerful, is to recognize that psychology plays a major role in music. It all boils down to the music theory behind the writing. The rhythm that is used, the chords, scales, the aggression in the sound, the strategic use of silence, etc. Music is all about “tension and release” as well as “call and response.” Tension and release sometimes do the same thing as call and response. It is all about the phrasing of the sections throughout the song. Let’s take the vocal melody in a verse, for example. The vocal melody as well as the words that correspond with each other throughout the phrase in the first and second half. The first half is often described as asking a question; it is common for it to end on a note that goes upward in pitch from the previous note. The second half of the phrase is called the “answer,” which often ends the phrase in a note that moves downward in pitch from the previous note. Much like how we talk in day-to-day life. Tension and release are a little more on the psychology side of song construction. With tension and release, it relates to chord progressions in a phrase. There are certain chord qualities and chord degrees within the scale that is being used that cause tension to our ear, like a dominant chord that is based on the 5 th note in the scale, or a diminished chord that is based on the 7 th note in the scale (if we are talking about the major scale). These would be examples of chords that end on the first half of the phrase. On the second half of the phrase, it ends sounding conclusive by ending on the chord based on the root note in the scale. The behavior is similar to call and response, but with a psychological philosophy.

17. What advice would you give to up-and-coming bands trying to fuse symphonic elements with heavy metal?

A strong recommendation I have to up-and-coming bands that are trying to fuse symphonic elements with heavy metal is 1. Pick some classical composers you like to listen to, then sit down and listen to their music uninterrupted from time-to-time. Listen to what they are doing with each phrase, what makes their songwriting interesting compared to other music you have heard? 2. Listen to other symphonic metal bands. Become familiar with at least the famous symphonic metal bands such as Nightwish, Epica, Delain, Xandria, Eluveitie, Within Temptation, etc. Approach listening to these bands with the same mindset. What is each of these bands doing in their songwriting that makes them interesting from one another? What qualities make them stand out and shine? 3. Lastly, if you are thinking about blending symphonic metal with another genre like I do, listen to bands that are within the genre you want to blend with symphonic metal. In high school and college, I listened to and played a lot of thrash metal. Testament, Exodus, Slayer, Pantera, Metallica, Onslaught, Warbringer, Gamma Bomb, Havok, and many others were some of my favorites. Approach these bands with the same thorough process. Then, the most important part is to ask yourself: “How can I make blending these genres work?” What I did was play what is most natural for me first. Some nice, thrashy or groovy sounding metal riffs, then write a solo with the rhythm section composition following after, so it can complement the guitar solo. Next, write the symphonic elements. If the guitar, bass, and drums are busy sounding, you may want to skip adding any symphonic elements in that particular riff, or just add a subtle layer of static chords that the choir sings in the background to thicken the sound of that riff. If the song just happens to have a breakdown of some sort, that is a great opportunity to add a thick layer of symphonic elements, as long as the circumstances permit filling that space with heavy symphonic involvement. That is another trick behind writing symphonic metal songs. “How much space in the moment of this riff is available?” If the vocals have the spotlight during a riff, go light on the symphonic elements, or do not add any.

18. How do you balance building a narrative universe with the pressure to release music consistently? 

The trick to doing such a thing is writing and recording a bunch of music ahead of time before even starting the campaign. That is what I did before my full band lineup was even complete. I wrote the music; all they needed to do was learn it, then we were ready to move forward. When the music is at least already written, and at least a demo is already created, obviously, the narrative universe is already established. The only battle you are fighting at that point is releasing the music within the current series of campaigns consistently. In other words, if you give yourself the fuel ahead of time (the music, already created and finished), all you need to do after that is drive. After we release our single, “Rampage (Bastet),” we will have one more single, then finally, our EP: Heroes of Egypt. Through a steady routine of preparing each song one at a time with careful planning to make sure the timing lines up, releasing music consistently can run smoothly. Once you establish your plan far in advance (bonus if you have backup plans if some things don’t work out), you already see the end result. The question is not a matter of ‘if’ it will go smoothly; the real question is, “Now that we know this will go smoothly, how can we take it further?”

19. Looking back, what has been the defining moment that put Symphony of Destiny on the map? 

When I think of “defining moment” that put Symphony of Destiny on the map, I think of a couple of different possibilities that qualify for that question. The first defining moment that put Symphony of Destiny on the map was when we played our first show ever, which was at The Canal Club with other local bands. With strong social media promotion, we got a crowd of 68 people. That put Symphony of Destiny on the map for the local Richmond metal music scene. Another possible answer to this question that put Symphony of Destiny on the map is when we started working with Metal Devastation PR, when we started pushing Exile of Horus. When we pushed Exile of Horus, we were introduced to a lot of great people who did a lot of favors for us. Between magazines, radio stations, playlisters, journalists, etc. Our name was put in front of the eyes of a lot of people. We were getting our song played on radio stations around the world, and we landed a feature in Decibel Magazine. I can confidently say that was the defining moment, or series of “moments” that put Symphony of Destiny on the map.

20. Is there anything else you’d like to share with Breathing The Core readers about your mythology, upcoming EP, or your vision for the band? 

In future music from us, listeners and fans can expect to see the rest of our EP and eventual LP to be about more Egyptian characters and/or events. The LP we will be working on after the release of our EP will be an extension of our EP, building off the saga that was already created. When our first LP is complete, we will move on to mythology from another culture for the next saga. But since that is so far out in the future, we will keep that as a surprise for now. For our EP coming out soon this Summer, listeners and fans can expect the songs to be the opening instrumental symphonic metal track (introducing the saga), a heroic track (introducing a main character that people can root for), an enigmatic track about riddles and grim outcomes when answered incorrectly, and a vicious track about pure aggression (about the goddess that destroyed the main villain in Egyptian mythology). The songs in the EP will play in this order: 1. Chariot of Ra, 2. Exile of Horus, 3. The Riddle, 4. Rampage (Bastet). This upcoming EP is a development that all of us in Symphony of Destiny are proud of, and we are excited for this EP to be released to the world!

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