“There’s no place like home,” as the old saying goes. Yet, this phrase carries a clear contradiction when home stops being a safe place and turns into the very source of our pain. In their fifth studio album, “Homesick,” out on October 16th, 2026, via Dusktone, Italian melodic death/doom metallers SHORES OF NULL explore this difficult feeling. The record looks at the constant push and pull between wanting something familiar and needing to stay away when that place is dangerous. In the end, the question of whether one can ever truly go back remains completely open.
This inner conflict comes to the surface right away with “Allies Before Defeat.” Placed as the opener, the song hooks the listener from the first seconds and stands out for a unique reason: for the first time in the band’s history, the lyrics were written by bassist Matteo instead of frontman Davide. It is a vulnerable and honest start, focused on the painful idea that two people can fight side by side, give everything, and still face unavoidable loss. Musically, it acts as a reliable anchor. The heavy riffs from Gabriele and Raffaele create a solid foundation, propelled by Emiliano‘s driving drumming, while Davide moves smoothly between harsh growls and clean vocals, enriched by the layered harmonies that have long defined the band’s sound.
That strong foundation leads directly to “Two Mountains,” easily one of the most immediate and accessible tracks on the record. Lyrically, the song turns toward local myth, drawing inspiration from the ancient Abruzzese legend of Maja and her son Hermes, whose tragic fate shaped the landscape itself. According to the story, the grieving mother came to be immortalized in the Majella mountain, which still bears her name, while the fallen Hermes was transformed into the giant silhouette of the Gran Sasso. It is a deeply personal subject for Davide, who grew up surrounded by those peaks, turning this regional tale of maternal grief and lost origins into a heartfelt reflection on the invisible ties that bind us to our birthplace.
The result brings modern AMORPHIS to mind: much like how the Finnish pioneers have mastered the art of turning ancestral myths into melodic metal anthems, SHORES OF NULL frame their regional story with soaring leads, big hooks, and an expansive sense of drama. It is an approach that pays off, making it a catchy, stage-ready piece that stands out as an early highlight.
That same drive carries over into lead single “Bleed to Life,” though understanding its exact role requires looking at the timeline behind the band’s recent output. Three years have passed since the release of “The Loss of Beauty,” an album whose songwriting actually dated back to before 2020, prior to the monolithic weight of “Beyond the Shores (On Death and Dying).” Aside from their split with Convocation, where they explored the slower, doom-laden side of their identity, “Homesick” marks their first batch of freshly written material in quite some time.
In that context, “Bleed to Life” opts for a more energetic, direct pace rather than lingering in slow tempos. Centered on the idea of rebirth through struggle, the song is paired with a dark video directed by Martina L. McLean (Sanda Movies) that includes a subtle yet explicit visual nod to their debut album “Quiescence.” With its driving rhythms and hook-laden delivery, the track acts as a bridge between past and present, offering longtime listeners a recognizable entry point into this new chapter.
The album’s central conflict peaks with the title track, “Homesick,” which was also presented with a lyric video. Historically, it was the very first song written for the record, sparked by an opening riff guitarist Raffaele came up with during soundchecks on tour with SWALLOW THE SUN in 2023. That idea became the seed for the whole album’s emotional tone. Lyrically, Davide strips nostalgia of any romanticism, leading into an emotionally charged chorus that cuts straight to the core with lines like “My home is dangerous […] Will I return?”
Anchored by sorrowful lead guitar melodies that subtly echo late-era SENTENCED, the band’s driving, layered delivery gives that vocal hook serious weight, turning the concept of home into a place of visceral conflict rather than comfort.
Moving past the immediate impact of the first few songs, “Son of the Tide” steps outside the band’s more traditional songwriting habits. Instead of relying on riff-heavy patterns to lead the charge, the track shifts its dynamic balance: the driving rhythm section moves front and center alongside Davide‘s vocals, while the guitars recede into an atmospheric backdrop. Built on a more intricate, shifting structure, the piece trades straightforward hooks for tension, offering a less predictable detour that lets the arrangements breathe differently.
The tone shifts noticeably on “Dreaming of a Scar,” which features guest violin work from Shaun MacGowan of MY DYING BRIDE. In the opening moments, a somber piano line sets a desolate, funeral pace reminiscent of “Beyond the Shores (On Death and Dying),” but the track soon takes an unexpected turn. Striking an effective balance between driving melodic death metal dynamics and subtle gothic rock undertones, the piano itself evolves, shifting away from pure grief toward a more decadent, gothic edge. Within this dynamic space, Davide‘s vocal versatility takes center stage as he moves effortlessly between harsh intensity and his signature clean delivery, sounding angry one moment and intimately comforting the next. Anchoring the piece is a chorus with a distinct, chant-like cadence, turning that repetitive, hypnotic flow into one of the song’s greatest strengths.
“Society Is the Murderer” takes a distinctly different route, standing as one of the most unusual pieces on the record. Built around less conventional arrangements, the song immediately sets itself apart through its vocal approach: Davide relies entirely on clean singing, leaving no room for harsh vocals. Rather than turning into a quiet ballad, the track uses that restraint to address the pressure of living in a society obsessed with success. The lyrics take aim at the stigma surrounding defeat, refusing to treat stumbling as something to hide. Lines like “I don’t give a damn / I’m claiming my right to fall” turn the whole concept on its head, making failure feel less like a flaw and more like an inescapable, meaningful lesson along the way.
Following, “The Numbing Void” moves fully into death doom territory, feeling like a natural continuation of “Beyond the Shores”. The heavy verses eventually open up into more melodic choruses, but the core of the song stays focused on grief and the regret of running out of time.
The track also features a prominent guest appearance by Natalie Koskinen (SHAPE OF DESPAIR, PAARA, THE ABBEY), whose vocals blend naturally with Davide‘s, adding another dimension of melancholy to the song. Midway through, Fabio Gabbianelli‘s double bass steps in right before Shaun MacGowan‘s violin enters, giving the music even more emotional weight. The song comes with a lovely video that pairs footage from the recording sessions with clips from their tour earlier this year. It is a simple, effective watch that really shows how close-knit the band is, highlighting a genuine friendship where making music feels like a natural result of being close, rather than the other way around.
Coming right after the slowest and heaviest moment on the album, “Another Breath” arrives as a sudden shock. The song kicks off with a fast blast beat before moving into the band’s trademark vocal harmonies, creating a clear contrast that pushes the track forward.
The drums play a central role here with a sharp, punchy sound. It is a great result from Marco “Cinghio” Mastrobuono, who produced the entire album and has worked with the band for years. That driving rhythm matches the lyrics well, capturing the anxiety and routine of daily life without slowing down.
The album closes with “Disappear,” a track that puts the band’s focus on melody front and center one last time. The lyrics stick to bleak, cold imagery around winter shores and rough waves. Musically, though, the song avoids just fading out into something slow and depressing. Instead, it leans on one of the most immediate choruses on the record, ending the album on a direct and memorable note.
In the end, “Homesick” shows a band comfortable in their own skin. It is a solid, well-crafted collection of songs that blends melody and heaviness with total confidence. SHORES OF NULL simply know how to balance their strengths: pairing crushing death doom passages with sharp, memorable hooks that never feel forced. It makes the album feel cohesive from start to finish, built on focused songwriting and a clear sense of identity.
Written by Licia Mapelli
Tracklist
- Allies Before Defeat
- Two Mountains
- Bleed to Life
- Homesick
- Son of the Tide
- Dreaming of a Scar
- Society is the Murderer
- The Numbing Void
- Another Breath
- Disappear
Lineup
Davide Straccione – vocals
Gabriele Giaccari – guitars
Raffaele Colace – guitars
Matteo Capozucca – bass
Emiliano Cantiano – drums
Label
Dusktone
