I have always been a believer that symphonic music is a perfect match for metal when executed well. The gravitas and cinematic qualities it brings has the ability to make the compositions so much grander. Symphonic metal can take a variety of forms, though I tend to classify into three main buckets. At its most basic, it is just the inclusion of token orchestration to make claim to the genre, which I feel usually results in lackluster output that doesn’t feel very symphonic or metal. A richer experience is to contain deeply intertwined symphonics with more traditional metal instruments, and I find most of the bands I truly love in the genre (Dialith, Epica, Seven Spires, Solarus, just to name a small handful) do this very well. And then there is the most advanced, truly taking on the identity of classical and baroque music and making it an integral part of everything you do musically while being just as equally metal. This latter case is rare, particularly when delving further into the extreme genres, and bands of the caliber of Aephanemer and Fleshgod Apocalypse are far and few between. 

I was completely unfamiliar with Italy’s Nefastis when they showed up on the release calendar as a review candidate, and I was intrigued by the description of symphonic death metal. The band released their debut album, “De Diebus Fastis, Nefastis, Infaustis” in 2014, but disbanded not long thereafter. That album had more of a thrashy death metal feel but took an interesting approach by subdividing the songs into movements that included multiple instrumentals. 12 years later, the band has returned and released their sophomore album, “Shadows at the Light of Dawn,” via Rockshots Records. This album also takes the movements approach, composed of 4, with each consisting of an instrumental and a couple songs with lyrics. The main difference from the previous album is the stark shift to symphonic death metal, with complex orchestral arrangements and plenty of classical and baroque influence. Much like Aephanemer, straightforward riffing is far and few between, with a bias toward moving passages on both guitar and keyboard. Keyboards are treated as first class citizens, fully integrated into the song writing and maintaining their own voice throughout. There are many songs, or at least major sections, where the keyboard is the lead instrument, and the band never loses a step or their heaviness in the process. And regardless of whether keys or guitar are front and center, the melodies are phenomenal, getting stuck in your head while seeming neverending as they flow from one passage to the next. There are “proper” solos that have a bit more of a virtuoso feel, but so much of the lead work is the prevalent driving melody in each song, with a heavy emphasis on the neoclassical and baroque styles. The orchestration is also integrated quite well, a critical scaffolding to each song that infuses atmosphere and an overarching cinematic quality. The album definitely biases toward instrumentation, with the demented blackened growls almost acting as another instrument when they do enter the fray. 

I mentioned that the album consists of 4 movements, and I love how each movement feels cohesive, beginning with the intro instrumental and then flowing with similar ambiance and melodies into the next 2 songs. Each set of 3 could be its own standalone EP, but each movement flows well into the next, creating a cinematic album full of bombast.

Movement 1 of the album begins with cinematic orchestral instrumental “Cosmic Silence at the Edge of the New World.” The mood is set as the keyboards take center stage, baroque flavors dominating the ominous soundscape while operatic voices linger in the background, atmosphere soaking each and every note as the bass and drums provide a solid foundation. Guitar eventually enters, lending some nice solos that mimic the keys, with the drums adding more thunder as the pace begins to hearken. The final stanza features chugging riffs with the symphonics all converging.

“Shadow Spell” continues seamlessly with haunting piano transitioning into guitar over blastbeats. Tortured growls arrive as the verse begins, with the verse alternating between a driving piano melody and a heavier tandem of guitar and piano. Blastbeats transition to the anthemic and big sounding chorus, with the piano taking the lead while guitars and drums deliver crushing blows. The musical bridge in the middle incorporates piano with a blend of classical meets modern synths, eventually yielding to the guitars and ensuring they get a turn as well. After one final chorus, the reins are given back to the guitar, featuring a slick lead over a bass rhythm, cinematic symphonics taking us to the finish line.

“Seduced by the Beauty of the Darkness” opens in a fury of blastbeats, then settles to a mid pace featuring deft guitar flourishes over drums and bass. The lead guitar really gets to shine, a consistent polyphonic force against the more straightforward rhythms. The drums also stand out, with everything from blastbeats and gallops to super technical fills, maximizing varied rhythms as they keep things driving ahead. The halfway mark starts a fun long guitar solo atop the varied percussion, eventually allowing the keyboards to take over with a super cool extended solo that adds atmosphere and depth. The song returns to one final rendition of the verse and chorus before ending the first movement in epic fashion.

Movement 2 transports you to a gothic castle, a clap of thunder opening eerie instrumental “Absence of Illumination.” Haunting orchestration enveloping a bass-led melody greets your ears, an ambient choir lurking in the background. Guitars and drums slowly layer to a climax, only to relent to the piano as things soften and return to an eerie vibe.

Much like Movement 1, the instrumental seamlessly transitions to “Tears of the Past,” beginning with a full one minute intro that continues the feel from the previous track but grows in scope and tempo as it layers varied guitar melodies, bass lines, and atmospheric keyboards. The song incites a sense of urgency with its drumming, in your face vocal delivery, and overall approach. The classically tinged guitar melodies meander and explore while the bass and drums keep things thundering forward, orchestral ambiance soaking the air.

The urgency continues into “Vortex of Light,” starting with a flangey guitar opening that quickly folds the rest of the instruments into the mix, settling into a driving mid-tempo cadence. A theme for this movement seems to be the sense of urgency, felt in the occasional blastbeats, driving guitar leads, and pointed vocal attack. The crushing riffs and pounding percussion create a solid foundation for fast flowing lead melodies, a common paradigm the band executes to perfection. When the song does slow the pace slightly, the guitar and keyboard melodies increase in passion, keeping the listener locked in until the instruments amp up again. The ending approaches bombastic territory with its blastbeats, massive orchestration, and nonstop moving melodic passages.

The ethereal video game like atmosphere of “Lights of Dawn” kicks off Movement 3. This is the longest of all the instrumental tracks at just under 4 minutes, and it takes its time building, nearly halfway before it takes off with a cool proggy guitar solo over various drum rhythms and tempos. It eventually slows back down and pours on the atmosphere, briefly utilizing synths similar to “Shadow Spell” before one final crescendo.

You get a seamless transition into “Alone Again,” reprising much of the melody of the previous track while adding cinematic flair. The keyboards reign supreme on this song, driving the melody and providing a very orchestral feel, maintaining the ethereal and ambient feel of the intro to this movement. Even when the song enters a symphonic breakdown, the keyboards lead the charge, with the guitars adding the extra thump underneath. As the song progresses, the keys do hand off to the guitars and allow them to take over, and the leads and solos are just phenomenal, rarely taking a break from meandering all over the frets while exploring their own rhythmic adventures. As we get closer to the end, the bombast increases, including the addictive ending guitar melody that is so perfectly placed to close things out.

“Stardust” picks up the pace and returns to more of a guitar focus, though the keys permeate the atmosphere in ominous fashion. There is plenty of galloping and blastbeating delivered by the kit, turning on a dime when necessary between slower and faster tempos while mixing in a variety of rhythms. The guitars are absolutely ablaze, painted in progressive, neoclassical, and baroque colors as the smoke emanates from the strings. 

“Blackened Vision” begins the final movement, a killer polyphonic piano driven instrumental that is subdued and yet attention grabbing in its bold melodies. I almost get Halo vibes halfway through as the choir comes in, and as with the previous instrumentals, the build slowly layers the other instruments before a final back off.

“Collapsing Dream” is the longest song on the album, right at 8 minutes. It presents almost as blackened doom with its more plodding pace, while still maintaining the orchestral atmosphere, neverending intricate guitar melodies, and cinematic aura. A little over halfway the song shifts gears, changing up the melody and taking on an almost goth feel, with guest vocals from Rehn Stillnight (lead vocalist for Nocturna) backing up the gnarly growls. This transitions into a nice harmonized polyphonic guitar solo before one final refrain of the chorus.

Closer “Flowers Swept Away by the Autumn” starts out with an array of keyboard dominated melodies amidst various rhythms. Rehn Stillnight returns to provide soaring vocals against Simone Colombo‘s growls. A little over 2 minutes in features an ethereal synthy instrumental section that feels surreal and pulled right out of a video game. Guitar eventually rejoins, a subdued solo matching the ambiance of the surroundings, beginning a slow build until organized chaos ensues. Blastbeats are interspersed with more standard drum fills, guitars and keys take turns polyrhythmically dueling, and Stillnight briefly soars over the top as the harsh vocals hit one final time.

This album is so different from anything else I have listened to this year, and even in the symphonic death metal genre it is quite unique, distinct from bands like Aephanemer and Fleshgod Apocalypse. As much as I love the musicality and instrumentation, there are times when I wish there were more vocals as well as a bit more variety in the vocal delivery. Also, Rehn Stillnight is awesome on the last 2 tracks, but I feel like she was severely underutilized, as her parts really add nice texture against the harsher vocals. I would love to hear more of this dynamic!

Desire for more vocals aside, I have been obsessed with this album, and I easily get lots in its depth and intricacy, If you enjoy rich orchestration, technical instrumentation, and a blend of melodic and extreme, you should check this album out! Hopefully it doesn’t take anywhere close to 12 years for the next album, as I am quite curious to see where Nefastis goes next!