The Foreshadowing – Days of Nothing (2007) Album Review

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This time, I won’t keep you guys waiting. While I still had some stuff to solve after I wrote the W.A.S.P. review (which explains the lengthy gap between the two last reviews), this time I can benefit from my own free time, listen to a lot of new records as well as not neglecting the older ones as well. Well, this is not what I would call old, a 5 year old record that managed to impress me at that time, still haunts me even today. Enter the world of gothic doom metal!

Previously I reviewed another gothic doom metal band which is also one of my favorites and I could always place them in my top 5 best metal band, Draconian. But, do we expect the same recipe from The Foreshadowing as well? The answer is not quite. Truth to be told, we speak about a clear distinction between these two bands, which is something new for me, since gothic doom metal is a fusion of genres that is pretty much limited in both playing style, singing style and song structure. Take Draconian’s songs for example, you could hear pretty lengthy songs (most of them over 5 minutes length), repetitive song structures, lack of guitar solos, a sorrowful atmosphere, and a beautiful duo singing, a male with harsh vocals and a female with e melodramatic vocal act, both of them representing their roots, the first stating that gothic metal took influences from death metal and the second reminds that doom metal, in essence, is not meant to be extreme and unconventional, like most people think.

What The Foreshadowing delivers is not that different from what Draconian delivers, but it has its own elements. The song structure and the instrumentals are monotone and repetitive at the same time, Marco Benevento‘s voice gets pretty monotone, as the guy does not change his tone at all, but what I liked more on this album compared to Draconian’s latest opus is the fact that the keyboard usage is not discarded. Individually, none of the members is impressive or ground-breaking, but placing them together, the magic happens, they manage to adapt their playing style in such a manner, that the songs they deliver are pretty credible, pretty enjoyable and it meets you expectations. Marco Benevento’s voice, even without the sorrowful ambience that the instrumental produces, manages to attain that sad atmosphere. I apologise to the ones that label the music of ones band, but I would also like to add the dark ambience tag on this one, since the songs are not as heavy and ruthless as Draconian’s songs. Also, add the fact that they do not use female vocals, and you have another difference.

If I were to compare them with a band other than Draconian, that would be Katatonia, as their depressive style resembles Katatonia’s Discouraged Ones, an album that gave hints of style change, from a doom/death approach to a depressive rock/metal style.

Another thing that sets these two acts apart is the lyrical theme. While Draconian prefers apocalyptic themes, anti-religious (especially anti-christian ones), The Foreshadowing prefers themes such as nature, death or stories about the armageddon. The production that this album received is also top-notch, as expected from the tech these days and it is clear that they do not wish to do things half-heartedly, they want to do it professionaly.

It is kinda hard for me to name some songs that highlight this album, because I really enjoyed pretty much all of them. The problem with this band is that, the songs alone are great, but when you listen to this album without pause, you cannot overlook the monotone feeling you’re getting and it really gets boring. I enjoyed the intro, Cold Waste quickly followed by my no.1 favorite of this opus, The Wandering. This song proves that this band knows when the speed up stuff and when to slow down, as well as the guitarist duo shows that they can colaborate well. Marco Benevento’s vocal act is also very depressing managing to deliver exactly what would one expect from a gothic doom metal band. Also this is one of the more heavy tracks this album offers.

The guitar riffs on Departure are also well executed, whick makes this song another highlight of this album. Afterwards, Eschaton enchants the ears of the listener with some of the best rhythms which partly reminds me of old Anathema, with that feeling of suicide. What I like about Marco’s voice in this song is that he tends to go a little bit high here. Some people might call his performance as a lack of motivation, but I think he does it on purpose, trying to make one realize that this is not an album where eagerness builds its way, but where death, darkness and suicidal thoughts reign.

I stop with my song analize here, no point in talking about all of them since on paper they sound all the same, but when you give the album a listen, you realize that all of them have their own good points, even though the good points can be found on all of them. Lets not forget that this is a debut album, it has one fatal flow, the fact that it does not have a closure. It begins well, it develops well, it catches your attention but it end abruptly.

For a debut album though, this is pretty solid. If we check the background of Marco Benevento for example, we realize that he comes from a similar background. He contributed with his vocals on How Like A Winter’s 2004 opus (in my opinion, one of the best gothic doom metal acts) and on Kamlath‘s first opus as well. He is a singer rooted in the gothic doom metal genre and the dark ambient style.

All in all, if you are a fan of gothic doom metal, don’t skip this album, rather than that, rest assured, if you love Katatonia, old Anathema, Draconian or if you are acquainted with Marco Benevento’s other bands, I assure you that you can buy this album without trying it before, it will surely appeal to you and it won’t be a waste of cash. For those that are not so well experienced with the implications of the gothic doom metal scene, you should give it a shot first. This is not a ground-breaking opus, this is not entirely original, but it is something new in a sea of mediocrity. Maybe this band won’t rise to fame (though I hope that I am wrong), but I hope they won’t reduce their quality in their later works in order to appeal to a wider audience and to break into mainstream (which is common for the gothic scene nowadays anyway).

Overall: 78/100