SORCERESS OF SIN
Ennea
SORCERESS OF SIN are back with their third full length album, “Ennea”, three years after their sophomore effort garnered a whole load of praise from fans and media alike and helped them blow the roofs off of so many venues during their intense touring schedule.
I must admit that I had not heard any of their music before this album, so I went in with no idea what they sounded like which was such a pleasant change to experience an album.
Formed in 2020 and hailing (mostly) from the UK, SORCERESS OF SIN are a melodic power metal band who are not afraid to rip your head off if the songs call for it. They are equally happy to gallop along at full Euro power metal speed, stomp on skulls to a groovy mid tempo beat or slow it right down and take their time delivering the goods, and deliver the goods they do!
“Ennea” takes us on a wonderful journey through Greek Mythology as we encounter Gods, drama, battles and a fair amount of chaos, all set to an epic musical backdrop which makes you feel like you are there with them, charging into the fray.
Opening track “Odyl” really sets the tone for what’s to come, as it is fast out the gate with Lisa Skinner invoking her best impression of Snowy Shaw from his Therion live days. I had to do a double take and check my notes to see if he was actually a guest, it’s uncanny.
No matter what speed the songs zoom along at, one thing for certain is… Lisa’s vocals are incredible. Over the course of nearly an hour, she treats us to face melting belts, power metal screams, sultry siren-esque tones and even a moment of soprano after the spoken word intro to “Nymphet”, it’s a really dynamic vocal performance.
Each member of the band excels in their role, with Daniel Mackender’s bass another real standout treat to the listener as it is given a good spot in the mix and really helps thunder the tracks along. There are chugging riffs, awesome runs and even a solo. I wish more bands would give this much love to their bass.
The orchestrations are never overdone, instead they are used well to enhance tracks or particular moments of songs. This allows room for the guitars of Constantine Kanakis and John Turner to throw their weight around with a barrage of meaty riffs and soaring solos. This, combined with the excellent performance on the drums by Paul Skinner, which is full of energy, power and great fills, all makes for a thoroughly enjoyable and impressive album by a band who deserve way more attention. So don’t sleep on this one and definitely catch them at one of their amazing live shows. It’s going to be very exciting to see where they go from here.
Russell Mulock-Bentley