Released: 2012, Displeased Records
Reviewer: Metal-Rules.com UK Team
Vesperian Sorrow describe themselves as an “Epic extreme metal act” hailing from Texas in the states and in their 14 year career thus far they’ve released compliment of four full length releases of uncompromising metal.
Opening with “Sanguis Vitam Est” which sets the tone for the opening title track “Stormwinds Of Ages” which quickly jumps into a slew of melodic death metal riffing and blast beasts, while the synth horn section bombasts away in rather epic fashion.
The Highlights continue as the “An Empire To Mourn” quickly follows with a full compliment of blast beats and synth pads as the black metal orientated lead lines flow effortlessly throughout.
Some nice other touches fill out the album in-between the relentless blasting and double kick - female vocals on “Casting Dawn Into Shadows” keep things different and fresh, whilst on “Crown of Glass” I could swear I Heard a flute somewhere in there! It’s good to hear bands not sticking to the simple black metal formula all the time.
That being said, a break in pace once in a while could do this album wonders - there’s so much double pedal and breakneck speed that some of the more interesting riffs get a bit lost in the mix.
That being said 7 minute epic “Eye Of The Clocktower” has quite a few twists and turns as well as a very Ihsahn inspired vocal performance in terms of clean vocals (Perhaps even a little Communic sounding on “Relics of The Impure“ too.)
Overall a pretty solid piece of work, my only gripe is again that it feels like every song just can’t wait to get back into the blast beats clocking in at just under an hour, it’s a lot of blasting to get through! - Some of the slower numbers “Death She Cried” Is a good example - really benefit from the more moody passages, it certainly catches your attention more than constant double pedal.
Technically the guitar work is very impressive and I think fans of bands like Fleshgod Apocalypse, Naglfar, Keep Of Kalessin will get on really well with this album.
Review By Paul James