Nyss’s 2017 debut album Princesse Terre (Three Studies of Silence and Death) was an atmospheric and raw slice of blackened art that struck a chord with me, and I’ve returned to it many times since.
Dépayser is equally striking; more so in fact, really, and in some different ways too. The band have expanded their sound with more experimentation on this new release, branching out from their black metal to include elements of jazz, post-metal, folk, and noise. They’ve also added a cello into the mix, further adding depth and a certain shade of colour and beauty to their already interesting and varied sound. There’s greater vocal variety here too, with clean singing having a more prominent role.
Avant-garde and both progressive and experimental in the most enticing and engaging of ways, Nyss have a knack for combining structured, compelling sections with more experimental and improvised-feeling noise workouts and atypical dynamics and songwriting. This is music that tugs at your heartstrings, while also tearing off your face when it needs to.
This juxtaposition between the affecting atmosphere of well-crafted progressive black metal and the looser feel of the harsh extremity that some parts have is unusual, but works well due to the band’s skill. Best of all, however, is when the two worlds comfortably and effectively combine, and true magic seems to be born in the collision.
Nyss have succeeded in producing an atmospheric black metal album that also incorporates other elements into itself with ease. The end result is that Dépayser is an emotive album that’s highly enjoyable. If you’re a fan of black metal, you’re advised to seek this one out.