Famed German producer and former Despair man Waldemar Sorychta returned to actively playing music in 2007 with Enemy Of The Sun and Eyes of Eden (which also featured bassist Alla). The band’s promotional demo disc won several German magazine nominations for independent recording in 2007 before the band signed with Massacre Records. The album was soon licensed by The End Records for America. The group was booked for Wacken Open Air for 2008. The band would play a set of Grip Inc. songs with Grip Inc. singer Gus Chambers on August 16th, 2008 at Zeche in Bochum, Germany. The band featured Grip Inc.’s Waldemar Sorychta of course.
Enemy Of The Sun began production on the follow-up to its debut LP, Shadows, in the summer of 2009. The album was to be done by the end of the year, with a release date planned for sometime in spring of 2010. Production was again handled by the band’s own Waldemar Sorychta. Enemy Of The Sun released its second album, Caedium, on May 28th through Massacre Records. The band parted ways with Greek bassist Eirini Papadopoulou in 2012.
ENEMY OF THE SUN - SHADOWS - THE END
Enemy of The Sun is touted as all sorts of originality-related attributes by the label, biography, commercial media and even the group itself. It is not so much that the Germans have developed a unique sound, but rather that the mix and match mentality of picking up different styles and fitting them into single songs is something that these four lady and gentlemen are comfortable with.
Unfortunately, for all involved, but mostly the metal fan/listener, those disparate elements include mallcore, metalcore and rock in addition to metallic ingredients. The band’s flexibility is manifest with layers of instrumentation and multiple vocal styles. Ironically, while the band coats its songs with musical styles and outputs the sound itself is stripped down as required by 'modern' sensibilities. Individual instruments seem hardly padded or overdubbed. Everything and the kitchen sink could have been the album’s title of this versatile outing. What does that matter if more than half the album sounds alternately like Tool, Notre Dame, Coal Chamber or Insane Clown Posse? The singer’s whining mallcore imbibitions are the final straw on top of the nü notes and circus-like keyboards. The album does have its good moments (hence the mere '30' rating) like when the song Brain Sucking Machine gets brutal, but one has to wonder how shot the ears of people like Jeff Waters of Annihilator and Marcus Siepen of Blind Guardian are to praise this, although to be rational neither person actually comes out calling this either 'good' or in equivalent terms. The commercial media quotes and high marks - par for the course - is of course expected. Do magazines and webzines ever type anything below a seventy?
This is all too bad for Waldemar Sorychta who actually was instrumental in making a great album while in Despair. Indeed, he is this album’s only ray of hope kicking in with some impressive guitar work on tracks like Twenty Three Feet, Feel The Beating or Carousel, which is a real mallcore song otherwise. While talking about individual songs, the inclusion of a Spanish-titled song called Enemigo Del Sol as American bonus is somewhat odd and interesting. Less interesting is the blatant Metallica main riff of the same track.
Enemy Of The Sun avoids receving a mark of 'very bad' or lower because of the production work, Waldemar’s guitar, the cool monicker, and its interplay with the album title and cover artwork. - Ali “The Metallian”