If you trawl the Ave Noctum archives then you will come across my review of this bands second album ‘Black Drapes For Tomorrow’ which I absolutely adored and still do as this unique Italian metal band often defies categorisation even though predominantly they are classed as blackened doom, which I don’t think is quite right though they do have portions of that style embedded. There is nothing like contrasts and this fourth full length certainly contrasts with the highly ambitious third album ‘Beyond The Shores (On Death and Dying)’ which was a single 38 minute plus composition, whereas this latest effort is thirteen tunes. Where the previous album delved into exploratory progressivity through its dulcet snaking duration where that single track gave the band the chance to expand, unfold, refold and continually evolve this latest album is in contrast and returns them to similarities with their first two releases, which makes sense considering this fourth album was originally intended to be released before ‘Beyond The Shores (On Death and Dying)’ as they were both recorded during 2019 and 2020. However, the band opted to release the single track album because they considered it suited the pandemic times of misery, isolation and, let’s face it, lots of death.
I loved this album the moment I heard it and have been living with it for a number of weeks, gaining new insight and new facets as it opens with the intro piece ‘Transitory’ before leading into ‘Destination Woe’.
Firmly intact are the multiple blended vocal styles, the way they seamless revolve and interweave through the songs is spellbinding and as ‘Destination Woe’ gets into its stride you are thrust into their sonic eloquence, a mystique of majestic riffing sitting astride their innate ability to ingrain every song with melody and innate despondency. Flowing in wonderfully is ‘The Last Flower’ as the doleful aura unveils moody vocals before the isolated riff change increases the pace, amalgamating it with the cleaner style. It is this aspect of Shores Of Null that makes them so interesting to listen to, their talent to flow from one sequence to the next is fluidised genius as the emotive passionate melodies filter through that continues with the equally exceptional ‘Darkness Won’t Take Me’. Whether you class this band as blackened doom, or just straight doom you cannot belie the fact that the Italians are often streets ahead of similar acts in this field and whilst I usually give band comparisons for you to get an idea of where a band stands it is not possible here even though I could name Anathema, Woods Of Ypres, mid-era Katatonia, Novembre etc but none of them truly are a match.
With full doom pacing on ‘Nothing Left To Burn’ it’s link to the preceding ‘Darkness…’ tune is wonderful, blanketing the listener with despairing sorrow accompanied by periodic shifts in density. Heavier and maybe slightly more straight forward is ‘Old Scars’ where a light double kick infuses the song with that gentle head nodding approval bands of this ilk generate as the cool vibe has an almost nonchalant relaxed persona. The album is sectioned by a brief interlude called ‘The First Son’ and normally I don’t really care about them unless they fit with overall sonic visuals but here it works, to offer a moment of respite before ‘A Nature In Disguise’ pulses with glistening heaviness as the fade in guitar work allows it to build towards said heaviness but always saturated in melody, something this album has in droves.
The last four songs, before an outro, of the release are equally enigmatic, each offering something different within the album’s overall styling as I particularly liked ‘My Darkest Years’ where clean vocals are chained to the deeper vocals that are unveiled, making the song succinctly oppressive. ‘Fading As One’ is also stupendous, its weighty delivery has a fine hook to clutch to where deep vocals and double kick are fused into the mix. Galloping and far more upbeat ‘A New Death Is Born’ channels its energy down a more aggressive avenue yet retains its trademark vocal work as the song even offers a half blasted section that I felt had brilliant impact before the album’s full songs close with ‘Underwater Oddity’. Another mesmerising piece of musicality that is different once again as we get those hints of Anathema I mentioned earlier giving the song a more upbeat stature and acting like a climactic finale before the outro ‘Blazing Sunlight’ concludes this amazing release.
There will be few releases as majestic and captivating as this fourth by Shores Of Null, it is exceptional in every sense and by the time you read this the band will be hitting the UK shores at the beginning of April supporting Swallow The Sun and Draconian and I urge you to check them out, you won’t be disappointed one iota.
(9.5/10 Martin Harris)
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