That's a male voice opening the track, already judging before Maria answers.

Maria Brink comes in tight against the fast band, and the first words are already about being pushed to the edge.

The chorus makes the accusation public: crucify, guilty, blame, sacrifice. The drums and guitars keep it blunt instead of letting it drift into melodrama.

When she names Joan of Arc, it doesn't feel like a costume. It sounds like a condemned role she's being forced to perform.

The repeated "burn" turns into rhythm here, almost another drum part.

The second verse moves closer to the body: high command, dirty hands, and the stake are now inside the same driving pattern.

The chorus returns with the same punishment words, but now they land after she's named the touch, the madness, and the fire waiting for her.

The male verdict comes back, and it feels different now. After everything Maria has sung, his certainty sounds less like truth and more like the trap the song has been exposing.

This build pares the language down to blame and sacrifice, repeating it until the final chorus can hit cleanly.

The final chorus doesn't add a new charge. It carries out the old one with the full band behind it.

The last burn cycle keeps the title's fire moving as rhythm, then the band starts letting go.

The ending is clean and quick, like the whole sentence has been cut off at once.