Review by Felix on October 23, 2023.

Honestly speaking, I thought that Candlemass do no longer want to release new studio albums. Nevertheless, now they have recorded eight tracks in a covert operation. I don't know why this full-length is released under a different banner, but Leif Edling leaves nothing to chance. Bad jokes aside, Sorcerer's debut lies in very close proximity to the last studio albums of the Swedish doom institution. The melody lines, the vocals, the basic atmosphere, almost each and every detail reminds me of Candlemass. Edling smiles contentedly. But don't get me wrong, I don't believe that the guys of Sorcerer love to appear as mere copyists. They just prefer the same style.

This means inter alia that the songs are not painfully slow. While setting the focus on mid-paced tunes, Sorcerer may not meet the expectation of doom metal purists. With that said, I have to admit that I am no doom expert and I appreciate the fairly "fast" tempo of the songs. That form of configuration increases the degree of liveliness, at least from my point of view. This does not mean that Sorcerer avoid any form of tranquil or slow sections. Inter alia the first part of the verse of "Lake of the Lost Souls" serves as an example in this context. But generally speaking, the songs have a certain pop appeal in view of their pleasant flows and the melodic designs. I don't mean this negatively. The songwriter duo Hagel and Niemann has a good instinct for smooth melodies which is not a bad thing at all. A lot of composers would be happy to be gifted with this talent.

Irrespective of the accessible song patterns which are emphasized by the polished production, Sorcerer don't forget to add some important elements. Desperation, sadness and occultism shimmer through the transparent, heavy sound, while especially the title track delivers the necessary degree of pressure and power. Its pumping main melody is definitely borrowed from Candlemass, but shit happens and the autonomous chorus is more than a mere compensation. The compact design is another advantage of the song. By contrast, the majority of the tunes offers an excessive configuration. Thank God, they don't abuse our patience in view of the profound components on which they are based. I have already mentioned the convincing, sometimes dramatic melodies, but I also must speak about the contribution of Anders Engberg. His powerful, voluminous voice adds a majestic touch. Without doubt, he is able to withstand the comparison with Edling's vocalists or with Sean Peck whose vigorous performance has ennobled the EP of Denner / Sherman.

"In the Shadow of the Inverted Cross" is neither innovative - or does anybody think that the rare use of keyboards is innovative? - nor breathtaking, but it is a more than solid work which is ornamented with an aesthetic artwork. In my humble opinion, Sorcerer enrich the doom metal scene. Only in their weakest moments, they spread the vibes of the colourful seventies. This is not my favourite decade, but the band fortunately does not intensely flirt with the hippie scene of this bygone era. I am very glad, because, as the crossover guys of Mucky Pup have said already, hippies hate water. But Sorcerer's debut doesn't stink.

Rating: 7.5 out of 10

Review by Felix on October 23, 2023.

Honestly speaking, I thought that Candlemass do no longer want to release new studio albums. Nevertheless, now they have recorded eight tracks in a covert operation. I don't know why this full-length is released under a different banner, but Leif Edling leaves nothing to chance. Bad jokes aside, Sorcerer's debut lies in very close proximity to the last studio albums of the Swedish doom institution. The melody lines, the vocals, the basic atmosphere, almost each and every detail reminds me of Candlemass. Edling smiles contentedly. But don't get me wrong, I don't believe that the guys of Sorcerer love to appear as mere copyists. They just prefer the same style.

This means inter alia that the songs are not painfully slow. While setting the focus on mid-paced tunes, Sorcerer may not meet the expectation of doom metal purists. With that said, I have to admit that I am no doom expert and I appreciate the fairly "fast" tempo of the songs. That form of configuration increases the degree of liveliness, at least from my point of view. This does not mean that Sorcerer avoid any form of tranquil or slow sections. Inter alia the first part of the verse of "Lake of the Lost Souls" serves as an example in this context. But generally speaking, the songs have a certain pop appeal in view of their pleasant flows and the melodic designs. I don't mean this negatively. The songwriter duo Hagel and Niemann has a good instinct for smooth melodies which is not a bad thing at all. A lot of composers would be happy to be gifted with this talent.

Irrespective of the accessible song patterns which are emphasized by the polished production, Sorcerer don't forget to add some important elements. Desperation, sadness and occultism shimmer through the transparent, heavy sound, while especially the title track delivers the necessary degree of pressure and power. Its pumping main melody is definitely borrowed from Candlemass, but shit happens and the autonomous chorus is more than a mere compensation. The compact design is another advantage of the song. By contrast, the majority of the tunes offers an excessive configuration. Thank God, they don't abuse our patience in view of the profound components on which they are based. I have already mentioned the convincing, sometimes dramatic melodies, but I also must speak about the contribution of Anders Engberg. His powerful, voluminous voice adds a majestic touch. Without doubt, he is able to withstand the comparison with Edling's vocalists or with Sean Peck whose vigorous performance has ennobled the EP of Denner / Sherman.

"In the Shadow of the Inverted Cross" is neither innovative - or does anybody think that the rare use of keyboards is innovative? - nor breathtaking, but it is a more than solid work which is ornamented with an aesthetic artwork. In my humble opinion, Sorcerer enrich the doom metal scene. Only in their weakest moments, they spread the vibes of the colourful seventies. This is not my favourite decade, but the band fortunately does not intensely flirt with the hippie scene of this bygone era. I am very glad, because, as the crossover guys of Mucky Pup have said already, hippies hate water. But Sorcerer's debut doesn't stink.

Rating: 7.5 out of 10

Review by Alex on November 10, 2020.

Nexul emerged from the darkest, dreariest and most dissonant regions of the underworld. Fully equipped with a conduct of its own, the beast set forth to apply its hand in the rhythmic movements and incantations of this thing we call black/death metal. 2013 spawned the first recording Nexulzifer, a demo that I still can't seem to find a copy of, this was merely a squirting of the venom awaiting the following release that arrived with the most dreaded ornaments of the ancients pronounced its dusking via the screeching claws of Paradigm of Chaos; a record that would go on to be one of my personal favorites within this modern genre of black/death metal. To this day, I can spin that gem and still feel like it's the first time hearing those outer-dimensional barks and howls. "LEVIATHAN, open your maw and lose your tail and let us blight this shell, we who shall open the Abyss!", still can't forget the beauty of that line. However, it's been some time since the void had been open, 2017's full length was near impeccable, yet it left many (myself included) wanting to hear more of what the Cthulhuean deity had been planning to broadcast.

Summoned to act upon the powers that rippled through the underground with Paradigm of Chaos in 2017, the EP is put into effect, furthering the studies of Nexul be this marked and scorned one, Scythed Wings of Poisonous Decay. A 9 track 36 minute long adventure through the guts of perdition. The pact with darkness strengthened and intensified, the serpent awoke again to provide both wonders and horrors, whether it be to those who foolishly deny or devoutly worship in its temple. What came under the sigil of infinity has returned on this latest venture by Nexul. And who would be handling this?, the feared and revered Iron Bonehead.

Chaos, uncertainty, omens and darkness taint and place a sore and sour upon the broken and damaged, the mortal shell left to experience the detrimental blow of extinguishing strings, pulverizing thuds of the kit and a monolith like, swollen and sonorous vocal delivery. 'Thy Terror' provides the background setting for the condemnation that awaits, and from there onward, the beast hisseth and slithers-forth with the tongues of temptation and execration. 'Reflecting in Glaring Eyes' emits a far more vicious vocal and instrumental interpretation of the philosophy of these Texans. Wondrous I tell you, that this same band would be able to top their past crimes with a bellowing howl. Still managing with needle eye precision to steer clamor to a place where it can make sense. Threading onward to 'Partitioned by Severity' to 'He that Takes the Soul', you quickly understand that Nexul don't just make this music because they like, those hands that caress the whore and partake in the sermons of Hellvetron and Nyogthaeblisz have a mission to fulfill. Impossible to mask something this hideous with 'Partioned by Severity' or 'T.M.I.P.L' exhibiting the band's ugliness with such pride, yet there is beauty that beholds the blind.

Chaos is the spice of life, and Nexul gets that, thus it seems the sect of desecration put their blades to work in reworking and carving out modified versions of their demo Nexulzifer that was put out in 2013. So now in a sense you do get to have their debut on vinyl even though it's not the original recordings. But fear not, no damage was done to the corruption exalted, all three tracks foot a disciplined path, just with a bit more definition with regards to the impact of their steps.

Where to next? Follow the scaly serpent scented rank.

Rating: 8.9 out of 10