Album Review: Sorcerer - Lamenting Of The Innocent
Reviewed by Paul Hutchings
Swedish outfit Sorcerer’s third album in five years moves the band left of the label ‘epic doom’ but not at the expense of any of the distinguishing style that enabled them to stand out as an essential genre band. The origins of the band reach far back to the late 1980s but Sorcerer disbanded in 1990 after two demos, the last being ‘The Inquistion’. Brought back into existence in 2010, Sorcerer’s two original members, bassist Johnny Hegel and vocals Anders Engberg, recruited guitarists Kristian Niemann and Peter Hallgren and drummer Ivessen. Two albums followed before Ivessen was replaced by Richard Evensand, drummer on ‘The Inquisition’ whilst touring bassist Justin Biggs became a permanent member of the band.
The result of a year’s hard work is ‘Lamenting of the Innocent’. 63 minutes of solid heavy metal which retains its roots in the heavy epic doom that bands such as Candlemass whilst developing their style to a wider, more melodic delivery. A concept album, Lamenting of the Innocent explores The Inquisition and witch crazes from a number of perspectives including those of a regular person and that of the Church. Studying the human condition aspect, like the stages of grief or mourning, denial, anger, bargaining, depression, and acceptance, the ten tracks consider the impact from many angles.
‘The Hammer of the Witches’ opens the album in fine style, thunderous drumming with massive heavy riffs, Engberg’s vocals soaring over the driving pace as the song tells of the Catholic churches use of knights to hunt down witches and cleanse village after village. A strong opening track, the immediate blend of Candlemass and Rainbow is incredibly pleasing, strong heavy metal with a pulsing melody. The title track is atmospheric, opening with the flames burning away as the congregation follow the priest in prayers. A huge doom filled riff then gives way to the first of four eight-minute plus songs. ‘Lamenting of the Innocents’ builds in stages, with Biggs adding some quality growls to compliment Engberg’s fine clean vocals, reminiscent of Ronnie James Dio is power, the topic something that the much-missed singer would have been right at home with.
As the album progresses, changes in tempo and feel contribute to the organic feel. The stomping ‘Insistoris’ contrasts with the massively atmospheric ‘Where Spirits Die’, a slower, brooding track that leads to one of the album’s standout songs, ‘Deliverance’. The only ballad on the album, this is no gut churning love song but an emotionally charged piece with guest vocals from Candlemass frontman Johan Lanqvist and cellist Svante Henryson adding some beautiful and fitting cello. It adds an additional dimension to the song. ‘Age of the Damned’ turns the intensity up, a powerful, muscular song with Niemann and Hallgren displaying some fine guitar work. It’s slow, but solid, the progress patient as the track develops.
‘Condemned’ opens with the tolling of the bell and choral chants, the song about a woman accused of being a witch waiting for her burning and the agony she feels looking out of the barred cellar windows towards the square where the pyre is built. The type of track that Iron Maiden would peel off with ease, the combination of heavy riffs, spiralling guitar work and pounding drums with the dramatic subject matter and the tightness of the band make this an epic song.
Closing track ‘Path to Perdition’ progresses to the ‘anger’ stage of grieving. Soloing guitars over a layered synth introduce the song, the quality of work fantastic before the band kick in with riffs, soaring synths and blasting drums. It’s a final opportunity for Engberg to shine and his delivery doesn’t fail. The song describes locals dragging the priest from the confines of his sanctuary and eventually throwing him on the pyre. With an appetite for revenge, it’s hard not to draw comparisons with the chaos around us in our daily lives at present, from Corona virus to immigration, persecution and desperation but there is a glimmer of hope in this song, as the perpetrator is finally brought to an appropriate conclusion.
With a variety of styles, it would be understandable for panic that Sorcerer have changed direction in their third album. Not a bit. The songs may vary in speed and heaviness, but this is still Sorcerer, expanding their style in every direction. Great melodies, huge sound, and epic choruses. Producing the album themselves, the only collaborators involved in the making of ‘Lamenting of The Innocent’ were Ronnie Björnström, who both mixed and mastered the album, and Conny Welén who contributed to the song writing. It’s a quality album from a band who continue to impress with every release
'Lamenting of the Innocent' is released via Metal Blade Records on May 29th.
