When it comes to symphonic music, Italy has a rich history. From the famed Vivaldi to modern composer Ennio Morricone, who wrote the iconic score to The Good, the Bad, and the Ugly, Italy has left an indelible mark on music history. This extends as well to their symphonic metal scene, with the likes of Ancient Bards and Moonlight Haze to the giants Rhapsody of Fire and Fleshgod Apocalypse. Orchestral arrangements can transform metal music from the mundane into something more profound if done right. Nefastis did not begin their journey as a symphonic death metal band. Their 2014 debut, De Diebus Fastis Nefastis Infaustis, was a work of death/thrash with a progressive tilt. However, lineup changes forced the band to take a lengthy break. Twelve years later, founders Andrea Lenzi and Simone Colombo put the pieces back together, hoping to reinvent and rejuvenate Nefastis on their sophomore outing, Shadows at the Light of Dawn.
While traces of their thrash roots remain, Shadows at the Light of Dawn proves to be a work of symphonic melodeath at heart. Unlike the bombastic, operatic work of Fleshgod Apocalypse, Nefastis plays a more subdued blend of death and symphonic metal. “Tears of the Past” features a fantastic melodic lead with strings and the occasional flute providing seasoning rather than competing to be the main course. These are mostly mid-tempo bruisers, but Nefastis shows their thrash side on the more energetic “Stardust.” Nefastis also rip out a neoclassical solo here and there, such as on opener “Cosmic Silence at the Edge of the New World,” where the solos duel with some pianos, and on “Seduced by the Beauty of Darkness,” where they accompany some synth wankery. Though I do wish they could have implemented more thrash, as Gods of Gaia did to great success last year, Nefastis still does some really cool things that should make genre fans happy.
The overall structure of Shadows at the Light of Dawn, interrupted by several lengthy instrumental interludes, makes it difficult for the record to find continuity. Since these interludes crop up every three tracks, Nefastis effectively kill their momentum whenever it starts to build. It doesn’t help that these interludes are full-length songs, each about three minutes. They also feel out of place tonally. “Absence of Illumination” delivers a brief synth composition that gives off Curta’n Wall vibes amidst its otherwise somber atmosphere. Synths also play a role on the more uplifting “Lights of Dawn,” which again has little in common with what surrounds it. Even stranger is “Blackened Visions,” containing a soft piano composition that belongs in a chaste concerto rather than a death metal album. Nefastis had so many ideas they wanted to implement that they were willing to sacrifice their record’s coherence.
This lack of continuity, unfortunately, translates into a greater lack of consistency throughout Shadows at the Light Dawn. Great ideas often get lost within some bland compositions. The thrash of “Stardust,” for example, is a light shining through more forgettable segments surrounding those thrash bits. Similarly, “Tears of the Past” opens with nearly a minute of lethargic material before diving into the fun parts. Still, there’s enough cool stuff to keep listeners engaged until the record collapses in the excesses of its final two songs. “Collapsing Dream” is an eight-minute snoozefest that starts off well enough before devolving into such a boring tune you might drift into dreamland before it’s over. Finale “Flowers Swept Away by the Autumn” takes the cake in its weirdness, but at least it’s interesting. You’ll hear some chiptunes, Stranger Things-style synths, a lengthy stoner/jazz solo, and some power metal riffs. All of this gives the impression of a band still in search of its identity.
Nefastis simultaneously sound like a generic symphonic death metal band and a very unusual one. I didn’t even go into the vocals. On that front, Colombo delivers some aggressively deranged blackened rasps that are initially off-putting. Oftentimes, these symphonic acts implement softer female vocals into their performances, whether it’s the operatic singing of Therion, or the beauty and beast dynamic of Sirenia. Nefastis opts for just Colombo until, puzzlingly, the final two songs. An unnamed female singer contributes to about 30 seconds’ worth of material, and then the record’s all done. Yet her bits are some of the catchiest stuff here. Nefastis has a ton of potential. Once they can focus on a more consistent style, they should give this mystery singer more airtime. I bet they can write something special.
Rating: 2.0/5.0
DR: 6 | Format Reviewed: 320 kbps mp3
Label: Rockshots Records
Websites: Qobuz | Facebook | Official Site
Releases Worldwide: March 6th, 2026
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