Register Forgot login?

© 2002-2019
Encyclopaedia Metallum

Best viewed
without Internet Explorer,
in 1280 x 960 resolution
or higher.

Privacy Policy

The Shadows Of Barbagia Have Risen - 90%

diogoferreira, March 27th, 2015

South America, especially Argentina and Chile, has a yet-to-be fully promoted and discovered extreme scene, and in the past few days I’ve come across a great black metal project called Downfall Of Nur who have just released the debut album “Umbras De Barbagia” through the growing label Avantgarde Music.

After an intro of obscure colors comprised by a dark ambient sound and spaced out echoed guitars, the following track “II – The Golden Age” starts in a sad manner with a Nordic taste through flutes, bagpipes and acoustic guitars showcasing the band’s folk side. Then, the electric guitars and the slow paced drums come into scene accompanying the aforementioned instruments. However, we have to wait a few more minutes until Downfall Of Nur show us what they really want to achieve: atmospheric black metal that among some dissonances is able to create a beautiful and nostalgic wall of sound.

Those moments are completed by suffering and somehow strident growls reminding us of the legendary underground project Paysage d’Hiver, however not so raw. On the other hand, we can find some calm and smooth sections – both instrumental and vocal – as a doom metal approach with a folkloric touch. That approaching ends to gain an organic body due to the extremely melodic and nostalgic lead guitar, but without verging on depression.

The band’s folk side doesn’t get limited to the first moments of the album since we will also find those arrangements during the record – whether it be in speedy or slow passages, like in “III – The Downfall Of Nur” or “IV – Ashes”. In addition to the instruments I’ve mentioned, strings weren’t forgotten and, so, they give a more tragic flowing to the songs. Finally, having in count the band’s core regarding atmospheric black metal, it’s expectable – if you are into the scene – that we will be absorbed by long and repetitive parts which emanate a tremendously aura of lightness even if we are dealing with a heavy genre.

Originally written at www.againstmagazine.com

Complete Triumph - 90%

flightoficarus86, March 22nd, 2015

So yet again, it’s 2015, and despite all of my convictions held that post-black is a trite and boring affair, I have been proven wrong. After being severely underwhelmed by last year’s Deafhaven and its thousands of art-school imitators, group after group have shown me the light. The solution is so obvious: make the music different and interesting. This brings me to Downfall of Nur. Fusing the haunting howls and chord structures of post metal, the constant build of progressive, and the engrossing soundscapes of blackened folk; Umbras de Barbagia is a monument of sorrow.

This album is a bit of a slow burner. In fact, it's a full 10 minutes before the vocals even kick in, but believe me when I say that your patience will be rewarded. Fortunately, the wait is not a chore by any means. Between the deeply sad minor chord patterns and the (unique) folk instrumentation, the well-constructed progressions provide plenty of feeling and engagement. The most predominant untraditional instrument is the quenacho flute. You will probably recognize its sound from Kung Fu, or Kill Bill part 2. There are also accompaniments from piano, strings, and even rain sounds. Those who stick around to the final track will also experience a bagpipe performance fit for a funeral procession.

The vocals start off like most post-black acts: fairly unintelligible, screechy, buried in the mix, etc. I was a little concerned at first that this might be where things take a turn for the worst. However, much like with the instrumentation, there is a wealth of subtle variety to be found. When things slow down, Dany Tee (Seelenmord, In Element, ex-Dead Warrior, Those Endless Eyes) goes with something a little more grim and growly that I can actually understand. . Even more pleasant are the passages of clean singing that border on a folky chanting. These slower parts feature some very crisp acoustic guitar and tons of reverb on everything. The production choices really help the drums sound deep and foreboding.

While sonically, it would be easy to compare the tone of this to other post-black acts, I find myself thinking more of Enslaved. The two sound little alike, yet the simple, subtle takes on songwriting and manner of black and folk fusion warrant the association. Those who have had the pleasure of listening to Au-Dessus’ debut, Tod Huetet Ubel, Telpathy’s 12 Areas, or even Leviathan’s latest album are likely to find enjoyment in this as well. Final word: Dark, haunting, and very rewarding. Check it out on bandcamp for stream and consider it’s low 4 Euro price tag if you enjoy it as much as I did.

Enjoyability=9.5
Musicianship=8
Innovation=8