Review Summary: Strolling through the clouds.
Black metal’s marriage with shoegaze was an inevitable intersection. Here are two genres that, to varying extents, raise the volume and accentuate the static to disguise a lurking beauty, submerging melody in roaring waters that crash against speakers, each note cloaked in a thunderstorm of reverb. Combined, they naturally complement and offset each other; the threatening aura of black metal enhances shoegaze’s explosive potential, and the latter’s typically softer textures add a separate dimension for the former’s generally harsher tones. Falaise do not endeavor to alter this now familiar dynamic, but they do strive to perfectly encompass its spirit—that concept of serenity balanced by its opposite, offering a soothing atmosphere unearthed by carving through the haze. Composed of guitarist Lorenzo Pompili and drummer/vocalist Matteo Guarnello, this Italian project attempts to contain their chosen musical category in a concise, straightforward package that accentuates its potential for crafting a unique aura, carefully navigating their influences to avoid any jarring sensations. The tranquil ambiance of fourth LP
After All This Time grounds itself in the conventions of contemporary blackgaze, yet its smooth execution sufficiently distracts from clichés and heightens the immersive experience.
What assists Falaise in this regard is their commendable ability to blend the two realms of shoegaze and black metal together seamlessly and consistently. A basic enough requirement for the genre, sure, but an aspect that few acts navigate without issue; one musical category usually prevails over the other, frequently leading to a sense that the less-indulged half is a disingenuous gimmick, with any included payoff seeming an arbitrary stab at generating songwriting depth. In contrast, every motion Falaise commit to feels deliberate, reliably engaging in post-rock-like ebb and flow between sporadic bursts of blast beats and tremolo riffs to elegant, patient strumming that recedes into the haze, increasing the scope of the cloudy ambiance that reigns over the record. Neither overplays their hand or tramples over the other, with tunes such as “One Day” deftly employing shifts that mesh amicably, either due to the reverb dripping off every note—the static allows the tension to recede or increase at any given moment, clearing the path for new guitar passages--or the tight percussion performance that reliably creates bridges between separate sections. Contrasting sections are artfully connected, allowing melodic riffs and restrained chords to coexist harmoniously.
With both sides of the blackgaze equation clicking, the atmosphere found inside
After All This Time becomes the main prize. Guided by commendable arrangements that meticulously and gently progresses tunes onward, the record nails an ethereal aesthetic that thrives off of its rich tones, gaze-centric production, and underlying intensity. In moments of quiet and cacophony, the atmosphere remains unswerving, with its pristine presentation selling the underlying songwriting and inviting listeners to dive deeper into its velvety interiors. An included synth element courtesy of Guarnello augments this dreamy landscape. Much like the instruments surrounding it, the keys, outside of their dramatic orchestra-esque swell on “Fading,” have a subtlety to them, never becoming overbearing to where a song’s cohesion is damaged. An even mix prevails in this regard, preventing a singular contributing factor from dominating proceedings; all is brought to an equilibrium in service to the scratchy, oppressive, and simultaneously peaceful ambiance that casts a soft veil over the LP. Every piece of Falaise’s dynamic—their soothing textures, their polished compositions, their dichotomy of fast-tempo guitar playing and gradual, soft crescendos--is assembled artfully, each component illustrating an alluring portrait that possesses an emotional resonance to it.
