Nucleus Torn
Knell

Nucleus Torn is a Swiss seven-member band dedicated to an original blend of neo-folk, metal, and avant-garde. "Knell" is the sequel to the successful "Nihil," whose peculiarities are amplified and matured in this follow-up. From a musical standpoint, the group may remind one of Opeth: acoustic arpeggios with a clear folk origin alternate with abrupt metal accelerations, but the overall mood is much darker and more decadent compared to the works of the Swedish band: silent parts and pauses are as important as the sound segments, the eerie string sections and the piano perfectly recreate a haunting and gloomy atmosphere, where the lyrics, centered on the life-death dichotomy, explore realms of pain and despair.

The first track, (all songs are untitled) lasting 8 minutes, is dominated by the acoustic guitar and Maria d'Alessandro's voice, with significant contributions from flute and violin, and a small cameo for electric guitars mid-track, has a subdued and rarefied atmosphere, where, as mentioned earlier, even the silent parts have their function. In the second part, of almost 15 minutes, despite the intro again with acoustic guitar and violin, the electric guitar is the absolute protagonist, sometimes in atmospheric passages, sometimes in more properly distorted ones, in a continuous duet with the male voice, this time of Patrick Schaad. The track travels on more classic coordinates compared to the previous one, but there are dissonant interludes, where both the flute and the violin manage to carve out a space. Despite its monstrous duration, almost 30 minutes, the third part is perhaps the most successful track among the four: constructed according to the typical scheme of a suite, different moments alternate musically, all tied by that underlying leaden atmosphere. It is also the track where the various souls of the group blend best: a "metallic" first part with male vocals is followed by an acoustic section with female vocals. From then on, the track takes off, as the piano, which had remained in the background until now, takes over the other instruments, making the piece almost a classical or chamber music composition, where, with the contribution of the violin, flute, and drums, peaks of unimaginable melancholy and elegance are reached. The piano closes the album with a solo that occupies the last part of the album.

Ultimately, a challenging album that requires many listens to be appreciated, but at the same time will represent a true sonic experience.