Often lazily dismissed as loud and (subjectively) obnoxious, Heavy Metal is a vast, labyrinthine universe with a network of interconnecting and versatile sub-genres. Including “Depressive Black Metal.” Formed in 1999, the Italian Black/Doom Metal outfit, Forgotten Tomb, are often cited as originators of the sub-genre, which, like metal, is far more multifaceted than its name suggests. And enduring. May 8th sees the band release their tenth full-length album, ‘Nihilistic Estrangement’, the follow up to 2017’s ‘We Owe You Nothing.’ Intentional or otherwise, Forgotten Tomb releases usually come in trilogies, making ‘Nihilistic Estrangement’ the start of a new chapter. One that promises to be a new journey well worth following if their first installment is anything to go by.
Wonderfully mastered by Jack Control at Enormous Door Studios (Darkthrone, Aura Noir, Martyrdod), the majority of the work was done in-house. Produced by vocalist and guitarist Ferdinando “Herr Morbid” Marchisio, and mixed by bassist Alessandro “Algol” Comerio, these personal touches are felt across the unassumingly lengthy, six-song track-list. Clever structures and interesting dynamics prove essential when working with songs six to nine minutes in length, and Forgotten Tomb know how to bring home the bacon. Such as the album’s callous opener, “Active Shooter.” Thematically brutal, with the guttural vocals to match, musically this near nine-minute epic is far richer than a mere unending, unchanging onslaught. From its ear ringing opening to its guitar squealing verses, topped off with a surprisingly moving solo bringing the song full circle with its arresting main riff, “Active Shooter” captures you from the moment it kicks things off and never let’s go.
It is easy to find yourself getting lost listening to ‘Nihilistic Estrangement’ as Forgotten Tomb keep each song fresh, memorable, distinctive and unique. Working within two of Metal’s most extreme sub-genres, Doom and Black Metal, songs like the riff-heavy “Distrust3” next to the pleasantly melodious title track demonstrate this two-pronged beast respectively. Though perhaps it is more recognizable in the record’s opus, “Iris’ House Pt. I” and “Iris’ House Pt. II”. More than any other track on ‘Nihilistic Estrangement’, the first half of this composition steeps itself in the sludgier pace we find in Doom. And musically, this section of “Iris’s House” is pulsating with thunderous drums, courtesy of Ky-Naam “Asher” Rossi, and yet another blinding guitar solo from Machisio. Yet the guitarist/vocalist takes the opportunity to deliver the song’s verses through the spoken word. If the result is not as exciting as it sounds, it does allow for Machisio to break out and diversify, ensuring he avoids a vocal performance that feels colorless and one dimensional. The same can’t be said for “Iris’ House Pt.2”, though, which does feel colorless and one dimensional. Fortunately, the record ends on a high note, as “RBMK” brings it all to a big, brutal, Black Metal finish.
Forgotten Tomb are masters of both Black and Doom Metal, and if they fall short from time to time it’s because they’re always looking to break new ground. This demands brave innovation, the risk of death or glory (at least for your career), and just a little bit of brilliance to pull it off .’Nihilistic Estrangement’ has all these qualities as a more mature, stout-hearted, Forgotten Tomb show they’ve retained their passion without losing their edge.