post-black metal
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Black metal has come a long way since it was mainly something for corpse-painted forest dwellers in the Scandinavian countries. These days, the genre is often seen as a form of extreme art, in a way comparable to strange, dark and haunting performance art. After all, although the genre changed, it never lost its bleak atmosphere and its piercing intensity and it certainly still isn't suited for everyone. Today, the post-black metal seems to be the new standard. One where the artists work in function of the music in stead of image.
Dalla Nebbia is one of those bands who took on a different approach to the tradition blackened music and clings on to bands like Altar Of Plagues or Wolves In The Throne Room. That does indeed mean: layers of crushing guitars and haunted screams. However, this American band likes to take things a bit furthur by including the synths of Limbonic Art and the violins of many folk or pagan black metal bands. The combination is actually quite interesting and incredibly heavy.
After a brief into, Dalla Nebbia immediately throw the listener into their gloomy, massive but melodic sound. 'Until the Rain Subsides' opens like a melodic death metal song in the vein of bands like in Flames or even Opeth. Other influences seem to come from more doom orientated bands like Agalloch. So yes, there's quite a lot of variation in the music, from hauntingly beautiful passages to punishing, almost chaotic pieces of extreme metal, or experimental noise in 'Das Gelächter Gottes'.
As often, the combination of these elements result in complex song structures where chorus-refrain set-ups are obsolete. 'Abandoned Unto Sky' and 'The Banner of Defiance', for example, immediately kick off in old school tradition with blast-beats, fierce riffs and screams but even here there's place for some post-rock-ish harmonies and violins. 'Not Within the Stone' completely delves into the post-era, becoming another highlight on this already quite stunning album.
'Felix Culpa (Theodicy Corrupted)' is one of the heaviest pieces, a vicious beast, strangling the listener with its powerful sound. Yet, here too, all the previously mentioned elements are present, all pressed into the already brutal music. It's a strange, confusing but immensely satisfying trip. In fact, it makes me curious about live performances. For starters, Dalla Nebbia would be one of the most original bands on a festival line-up and they would definitely convince the audience of their capabilities.
Serge
Dalla Nebbia is one of those bands who took on a different approach to the tradition blackened music and clings on to bands like Altar Of Plagues or Wolves In The Throne Room. That does indeed mean: layers of crushing guitars and haunted screams. However, this American band likes to take things a bit furthur by including the synths of Limbonic Art and the violins of many folk or pagan black metal bands. The combination is actually quite interesting and incredibly heavy.
After a brief into, Dalla Nebbia immediately throw the listener into their gloomy, massive but melodic sound. 'Until the Rain Subsides' opens like a melodic death metal song in the vein of bands like in Flames or even Opeth. Other influences seem to come from more doom orientated bands like Agalloch. So yes, there's quite a lot of variation in the music, from hauntingly beautiful passages to punishing, almost chaotic pieces of extreme metal, or experimental noise in 'Das Gelächter Gottes'.
As often, the combination of these elements result in complex song structures where chorus-refrain set-ups are obsolete. 'Abandoned Unto Sky' and 'The Banner of Defiance', for example, immediately kick off in old school tradition with blast-beats, fierce riffs and screams but even here there's place for some post-rock-ish harmonies and violins. 'Not Within the Stone' completely delves into the post-era, becoming another highlight on this already quite stunning album.
'Felix Culpa (Theodicy Corrupted)' is one of the heaviest pieces, a vicious beast, strangling the listener with its powerful sound. Yet, here too, all the previously mentioned elements are present, all pressed into the already brutal music. It's a strange, confusing but immensely satisfying trip. In fact, it makes me curious about live performances. For starters, Dalla Nebbia would be one of the most original bands on a festival line-up and they would definitely convince the audience of their capabilities.
Serge
