This band from Boston first caught my attention on sending a double album a year or so ago comprising their first two discs ‘Descent Of The Scarab Prophet’ and ‘Dread Sylvan Summonings’ which were both released in their own right in 2012. I found them particularly interesting as one album had predominantly male vocals and the other female. It is the female vocals that have weathered the tide though and it is Lilith Astaroth very much at the helm here on Nemesis Engine. When you hear her range it is quite obvious why too, as she can provide both beauty and beast vocals admirably without any need for a surplus growler. It seems the band have not got any further as far as labels are concerned and this is still a self-released album and from what I can gather the band are actively involved in their own PR. If this is by choice I am not sure and am uncertain how popular they are outside their hometown. I doubt they have made much of an impact as far away as here in England but on the strength of their material they deserve to, so I am more than happy to spread the word a little. Having said that though they must have got some notice as there is apparently a guitar solo somewhere here courtesy of Andy LaRoque.
With harmonious piano spilling over from the intro piece into ‘Arcana (of the Lich Queen)’ we are thrust into a fantastical world of symphonic and gothic sounding blackened metal. Lilith really puts her stamp on things with growls, rasps, gorgeous clean siren sounding parts and some good old fashioned cackles to boot. It’s pretty atmospheric stuff and the cantering pace is infectious. Sure it is difficult not to mention Cradle Of Filth, it’s a similar sort of place that we find ourselves in but I am more engaged with this than anything I have heard from that lot in years and quite honestly Lilith’s vocals are far more formidable than that mischievous imps. The title track is enthused with a really lush lilting clean vocal refrain between the gruff barks and the pummelling pace has gone up a notch with the drive going like the clappers. Having a brief look at the lyrics and taking in the cover art it looks like they have taken the fantasy narrative by the horns too and sculpted a story that you can immerse yourself in as the 4-5 minute tracks unfold.
‘Scourge Of The Hierophant’ is one of the standout moments and possibly the one we find that certain solo in. Backed up by some militant, army of Orcs backing chants and a real gung-ho melody it is both catchy and no doubt a stormy one when played live. It should be said the clips I have seen of this lot live look like they would be well worth seeing and the band look the part for sure. The contrast to the beastly vocals on this one to the sweet and sultry ones on next track ‘Divine Submission’ is really noticeable and the spoken word rasps that are also utilised are excellent and remind of Sarah Jezebel Deva on those earliest Cradle albums.
I have given this album quite a few spins as it wasn’t a quick fix listen and is quite an involved one but once I got there it certainly got its claws in. There’s enough going on to keep the listener on the edge wondering what is coming next and there are some delicious dark delights to be found on songs like ‘Artillery Ghosts.’ I may be guilty of going a bit off the boil on the symphonic and gothic sides of black metal of late but this has reminded me that it is certainly not a style that should be dismissed. There is definitely something about Sorrowseed that should have you checking them out, let’s hope that on the strength of this some decent labels may be compelled to as well!
(7/10 Pete Woods)
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