The Americans Vale of Pnath published a few weeks ago via Willowtip Records their third full-length, eight years after their previous II, album with which I met this band from Denver, and which caught my attention. Although time flies, eight years is a long time (in between they published a EP called Accused in 2019), and that, although it sounds cliché, can take its toll on a band and its followers. To begin with, these Vale of Pnath They seem like a new band, since only one member of those who recorded that second album is still in it, the guitarist Vance Valenzuelawhich, although it is a factor that, at first glance, does not seem to alter the product (sound) too much, it can be something to take into account when listening to the album.
After a cover art quite attractive, of which I do not know the author, but which has given me an air of Goya darker and sicklier, or that Study of the portrait of Pope Innocent X by Velázquez by Francis Baconopens with a intro very cinematic this Between the Worlds of Life and Death, a work that shows us a somewhat more epic and darker sound than before, adding to that characteristic technical death metal of very dynamic and complex structures, elements more typical of the black metal symphonic, managing to create very sinister and terrifying atmospheres. Returning to those factors that can alter the product, we must talk about the importance of the keyboards and the orchestrations, which, although it is not at all clear to me, because their accreditation is not very defined, seem to be the work of Wayne Ingramguitarist and keyboardist Wilderun. If one focuses and analyzes the sound of the band in its most blackers (for example “Soul Offering”), one might think that perfectly behind the keys could be Mustis, Sverd, Benjamin Ryan, Francesco Ferrini (there is an album this summer of fleshgod Apocalypse), or even Xy (listen to the more martial bars of “Silent Prayers”). The most important elements blackened They reside there.
The rest of the instruments do rely entirely on that base of the death metal more technical, especially with those heavier and more intense guitars with fast notes and virtuoso solos, and those furious drums full of blast beatsIf I had to choose a track that could unite these explanations, it would probably be “Uncertain Tomorrow”. Other tracks like “Beneath Ashen Skies” or “Burning Light” are pure brutality without any kind of concession.
As for the voice, I could say that I would like a little more versatility, but this is already a personal problem that I have in this type of style, idem with the production, which seems to me to be too overproduced at times. What should be applauded is the decision to give more prominence to the keyboards and orchestration, since I think they have gained by getting closer to a more symphonic and dark sound, and it is this factor that keeps the listener’s attention, in this case mine, from waning.
I don’t know how long it will take to record new material, or if Valenzuela He will continue to be the only permanent member, but, for my part, I would advise them to continue working on those keyboards even more to be able to differentiate themselves and stand out from the thousands and thousands of bands in a genre that has been overflowing for a few years now. Meanwhile, and despite the fact that he exudes quality, works like this Between the Worlds of Life and Death they will not go beyond being a more than correct, another, album of technical death metal.
Pota Blava and fanzinero of the 90s. Music has always been one of my great passions, and although Metal is my main reference, I have not stopped moving through different styles without confining myself to anything. Over the years, writing also became another passion, so if I put the two together I get the perfect recipe for my personal drug. I’m here to humbly contribute some of my musical madness, and if I can also have a good time…then hell.
