Jeanne d’Arc is a chronological concept album set in the late stages of the Hundred Years’ War, tracing Joan’s journey from her 1412 birth in Domrémy and teenage visions to her audience with Charles VII at Chinon, the relief of Orléans (April–May 1429), the Loire victories and Patay, the Reims coronation (July 1429), the failed Paris assault, capture at Compiègne (1430), imprisonment and leap at Beaurevoir, the Rouen trial (1431), execution at the Vieux-Marché, and—years later—the 1455–56 nullification that restores her name. Most songs speak in Joan’s first person to keep the arc intimate and immediate, with brief viewpoint cameos from soldiers, clergy, and family; short French phrases are used sparingly for place and ritual without obscuring meaning.

Musically it’s gothic power metal fused with medieval French color and filmic scale: twin 8-string guitars, double-kick gallops, and dramatic modulations meet vielle, hurdy-gurdy, rebec, shawm, recorder consort, cornemuse, sackbut, portative organ, lute/gittern, and psaltery. Pipe-organ pedals, strings, and choirs build cathedral grandeur; battlefield foley becomes rhythm—anvil snares, quill-on-parchment hats, bowstring “arrow” hats, portcullis slams, banner-cloth granular pads, bowed-water rims. Joan’s voice is a gothic power-ballad mezzo-contralto (hushed vision tones to battle-cry belt), with occasional operatic soprano halos in the mostly instrumental bonus epilogue. The result is a cinematic, high-drama sound world where orchard winds, iron bridges, and Reims’s bells resound inside a modern metal cathedral.