The Scars in Pneuma – The Path of Seven Sorrows

Rating: 3/5
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Released: 2019
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Band line-up:

Lorenzo Marchello – vocals, guitars, bass
Francesco Lupi – guitars, keyboards
Daniele Valseriati – drums


1. Devotion
2. Souls Are Burning
3. Spark To Fire To Sun
4. All The Secrets That We Keep
5. Dark Horizons Ahead
6. The Glorious Empire Of Sand
7. Constellations


The Scars in Pneuma are an Italian black metal band on Promethean Fire/Kolony Records. It was started in early 2017 as a solo project of Lorenzo Marchello, who plays guitars and bass and who also sings. Soon after, Francesco Lupi on guitars and Daniele Valserati on drums joined him. They will release their debut album ‘The Path of Seven Sorrows’ on February 8th, 2019 and it is for fans of Dissection, Mgla and Rotting Christ.

Almost immediately after I said this band was a black metal one, you would have most likely made assumptions as to what they sound like. If you were expecting them to use blast beats, tremolo picked guitars and screams, guess what? You were right. Is there anything even mildly new with TSiP? Hardly. BUT, in their defence, their writing is good. Many similar groups write pretty respectable chord progressions that have classical influences, but The Scars also have a talent for writing melodies that are sometimes somewhat longer than usual and more well planned. They mostly don’t come from the words, surprise, surprise, but from the guitars. There are some small appearances of a clean singing female vocalist, however.

One of the highlights of the album is in the song, ‘All The Secrets That We Keep’. In it, two lead guitars play in counterpoint with each other. Writing such ideas is far from simple and few bands bother with them. Sadly however, the vast majority of the music sticks to safe single melodies. There is also insufficient variety on the album, making it a little tiring to listen to. To be fair though, there are some clean guitars to be heard in ‘The Glorious Empire Of Sand’ and ‘Constellations’ that have interesting chillout vibes almost. If those ideas were expanded upon and made a little less ‘metal’, a far newer sound could have been created.

To sum up, this is good music in many ways, but my God there are so many bands out there that sound similar to the group. And why does the drumming have to be so constant in some songs? Is it really such a big problem to use a little creativity and to not go at 1000 mph so much? Furthermore and in particular, it would be nice to hear some more diversity in the harmony. It kind of makes the album seem like one long blur, until the clean guitars enter. However, if none of that bothers you, go ahead and buy it!

Review by Simon Wiedemann