“Nightfloating” is the eleventh offering by Italian depressive black/doom metal pioneers FORGOTTEN TOMB, set for release on July 12th, 2024, via Agonia Records. They have been around for a quarter of a century now, contributing to the definition of the subgenre eventually labeled as “depressive suicidal black metal,” while consistently maintaining high-quality standards. Moreover, they have gone through at least three different phases, successfully developing a strong, personal sound from day one, as highlighted in various instances, such as the anniversary reviews of “Songs to Leave” and “Springtime Depression.”
This new album once again sees Ferdinando “Herr Morbid” Marchisio covering the role of singer and guitarist, as well as main songwriter, Alessandro “Algol” Comerio on bass, Kyoo Nam “Asher” Rossi on drums, and a new member, Jöschu “J” Käser, on lead guitar. Herr Morbid and Algol also took care of mixing duties, along with their long-time producer Daniele Mandelli. The cover artwork is fairly suggestive: hand-drawn by Greek artist Satta La Main, it is somewhere between Theodor Kittelsen‘s Nøkken and the famous painting by Pre-Raphaelite John Everett Millais, Ophelia.
As challenging as it can be, delivering thoughtful yet fresh music is something these guys excel at, in that weird yet stimulating balance between being true to themselves and evolving in terms of skills and expertise. This is, in my humble opinion, the main focus of “Nightfloating”: it draws heavily from their early production, particularly in the first part of the opus, but it takes a step further, as both music and lyrics convey the sense of maturity of a 40-year-old who still refuses to surrender to any trends, as well as to some specific social norms.
The title track hits hard, as it is also the opening tune: a brave move, if you ask me, that puts the whole listening experience on the right track (pun intended). “Nightfloating” is an overwhelming nearly 6-minute ride through the narrator’s twisted thoughts, where the massive melancholic vibe in the guitar work blends with a desperate yet aggressive chant, sustained by the solid rhythmic section we, the listeners, are pleasantly used to. Although being a full-fledged look at the past, “Nightfloating” is clearly influenced by the many nuances of the band’s flavorful personal sound, such as an unavoidable rockish, nostalgic vibe one cannot “unsee,” enriched by a more complex structure.
Speaking of, the second tune on the album shows a step forward in terms of songwriting: “A Chill That You Can’t Taint,” which was published as a single a few weeks ago, sees an interesting new element, such as dual lead guitar solos, boldly borrowed from classic heavy metal. It must be said that the presence of J brought a breath of fresh air to the band, both in terms of skills and attitude, and it is also funny and somewhat sweet to think about it, since the guy was born just a couple of years before the act was founded. Herr Morbid’s ability in balancing straightforward riffs and melodies, combined with non-predictable breaks and a generally engaging mood, reached its peak on “A Chill That You Can’t Taint,” as the ultimate proof that, after so many years, he still has a lot to say. Lyrically speaking, the tune is a rageful hymn to isolation as the only way to survive in such a corrupted society. The closing line hits hard: “Lost in the ether and I don’t care whatever lurks out there. It counts that I’m still one step ahead of you.” The eerie piano part as a closure took me back to “House of Nostalgia,” from their almost 20-year-old opus “Love’s Burial Ground.”
“This Sickness Withered My Heart” follows, showcasing superb drum work provided by Asher, and the bass break offered by Algol is one of the numerous undisputed touches of class. The tune is a great example of how rich and flavorful the band’s soundscape can be, as it seamlessly incorporates melodic, melancholy-infused guitar work with a more doom/black metal-oriented vibe, resulting in a 100% FORGOTTEN TOMB listening experience.
The inner variety of the songs is likely to be considered a guiding thread in “Nightfloating,” as a consequence of the step forward Herr Morbid took as a composer. It is no easy task to combine a fresh approach while carrying the weight of such a “bulky” trademark sound, but the band is proving, once again, that evolving can take many shapes, and they have definitely chosen a successful one.
“Unsafe Spaces” sees the collaboration between Herr Morbid and Algol as songwriters. It is no secret that FORGOTTEN TOMB as a band stands against any politically correct statements, as masterfully expressed in this tune: “You whine to draw attention since nobody could care less, then use prevarication while you sell it as progress.” If you ask me, it is a relief to see a black metal act still embracing such a rebellious mindset, with no fear of showing it. The first thing that came to my mind when I listened to “Unsafe Spaces” was how cool it would be in a live setting, as FORGOTTEN TOMB are an outstanding live band whose concerts always leave me speechless. The main riff is a proper earworm, and the two guitar solos (the first one by Herr Morbid and the second one by J) really add a nostalgic, passionate aftertaste to the whole piece. It showcases some features from their post-“Negative Megalomania” era, which is always great to hear.
The penultimate song took me off guard: “Drifting” is a dungeon-synth instrumental tune heavily inspired by BURZUM’s production from the early-mid ’90s. It is no secret that his albums had a big impact on Herr Morbid, back in the day, but I genuinely did not expect such a homage in an album that, in the end, is so deeply infused with FORGOTTEN TOMB’s personal approach to black metal. “Drifting” is fairly evocative, mysterious, and old-school in a wider sense, and as unexpected as it can be, it sets a drastic change of mood in the opus without altering it, while turning into one of the catchiest tunes on the album.
The closing track is likely to be labeled as a suite: “A Despicable Gift” draws back to the band’s mid-2010s production, due to a vintage vibe and a sludge-like hint that reaches its peak with the slide guitar part provided by a very inspired Herr Morbid. It is hard to say, but this track is probably the highlight of the album and one of the best tunes the band has ever delivered. The solo, written by J, adds more pathos, as passionate as it sounds. Herr Morbid’s chant hits hard once again, forcing the listeners to come to terms with their own lives. Does it sound comforting? Not at all. FORGOTTEN TOMB’s message has always been straightforward and harsh, but it’s authentic. In a world full of copycats, these guys still make a difference. So, welcome back. “Nightfloating” is an excellent example of how such a crucial and trendsetting band is always a step forward, no matter what, which isn’t an easy task. They totally nailed it, so, I wish a nice listening experience to old and new fans.
Written by Licia Mapelli
Tracklist
- Nightfloating
- A Chill That You Can’t Taint
- This Sickness Withered My Heart
- Unsafe Spaces
- Drifting
- A Despicable Gift
Lineup
Ferdinando “Herr Morbid” Marchisio – vocals, guitars, synthesizers
Alessandro “Algol” Comerio – bass
Jöschu “J” Käser – lead guitars
Kyoo-Nam “Asher” Rossi – drums
Label
Agonia Records
