While it's simple to dismiss the band as another bunch of old farts in need of their daily medications and cups of applesauce giving the metal thing another chance, it is important to point out that Sorcerer does what it does much better than I had anticipated. This thing is up to its eyeballs in imposing Candlemass-esque hooks and riffs, giving proper justice to the monumental foundation of doom. While mostly burning and slow, there are some up-tempo bits, namely "Exorcise The Demon," utilizing a heavy metal gallop akin to a Maiden-meets-Sabbath sandwich, and "The Gates of Hell," a fist-raising anthem of steel. This style is what Sorcerer brazenly masters from opening riff to closing note, setting the stage with balls-annihilating grandeur and keeping it accordingly.

"In the Shadow of the Inverted Cross" is musically phenomenal. I must say, however, it wouldn't be the same without the presence of Anders Engberg, whose vocals are excellent. Clearly on the level of doom legends like Messiah and Tony Martin, he nails every line with gusto and might, practically kicking the room temperature of the doom up to the boiling point. His excellent performance walks hand-in-hand with the choruses, which are superb, let me tell you. Totally catchy and just downright awesome, it's impossible to shake the memorable parts of "The Dark Tower of the Sorcerer" or "Sumerian Script" hours after the record stopped playing. Sorcerer isn't caught up in the appeal of sounding retrogressive; this sounds like the stuff the dudes of Sorcerer had longed to play for years.