
Valley’s Eve
Deception of Pain
Limb Music
2002
There are two things that one can highlight concerning Valley’s Eve new album: First, those who were familiar with earlier work of the group will have a surprise, as the prog-metal approach of the band has been replaced by a straighter heavy-power direction. Second, the album is a killer/bomber!
It seems that Valley’s Eve have sensed what they had to do in order to distinguish themselves from the crowd. They chose to produce a more direct album, which although it follows heavy metal paths, it still manages to be different from what we normally hear lately. Indeed this must be the great success of the group; they managed to filter all their influences, and produce an original sound. It is difficult to characterize the sound of the album but by listening to it, it reminded me a bit of Conception, Kamelot, a little Nevermore (mostly in the atmosphere-not in the sound), and Destiny’s End. The orchestrations are rich, although the keyboards play a secondary role (only when needed to give depth to the songs). This is due to the great job on the guitars (where the band seems to have spent a lot of time), the upgraded role of the rhythm section and of course the powerful voice of the singer Lia.
Listen to songs like the hymnical “Kingdom of Pain”, the melodious “Mirror in Your Yes” or the creepy “Dark Room” (with the imposing narration in Greek) and you will understand what I mean. I believe that this record can finally be the breakthrough of the band to become a bigger name. They deserve it.
It seems that Valley’s Eve have sensed what they had to do in order to distinguish themselves from the crowd. They chose to produce a more direct album, which although it follows heavy metal paths, it still manages to be different from what we normally hear lately. Indeed this must be the great success of the group; they managed to filter all their influences, and produce an original sound. It is difficult to characterize the sound of the album but by listening to it, it reminded me a bit of Conception, Kamelot, a little Nevermore (mostly in the atmosphere-not in the sound), and Destiny’s End. The orchestrations are rich, although the keyboards play a secondary role (only when needed to give depth to the songs). This is due to the great job on the guitars (where the band seems to have spent a lot of time), the upgraded role of the rhythm section and of course the powerful voice of the singer Lia.
Listen to songs like the hymnical “Kingdom of Pain”, the melodious “Mirror in Your Yes” or the creepy “Dark Room” (with the imposing narration in Greek) and you will understand what I mean. I believe that this record can finally be the breakthrough of the band to become a bigger name. They deserve it.