Days of Nothing (Candlelight) is the debut recording from Italian gothic/doom metallers The Foreshadowing. The goal of the music, according to the band, "is to bring you into an atom-sphere of apocalyptic tragedy and alienation from humanity and everyday life with moody and powerful music. "Atom-sphere?" I believe that would be a metaphor for: a world that is comprised by both positive and negative elements; is ultimately, surrounded by negative energy. I like their philosophy already! And the music, while never trying to hard, absolutely succeeds in supporting this theme.
One of the most notable attributes is found in the singing. Marco Benevento truly conveys the self-preoccupation and social alienation of someone who enjoys watching the world slowly wither and crumble away until it fades into forever. (The magnitude of said event is not met with much more than a listless sigh.) His vocals are beset by a nice vibrato and a soothing tone in combination with a level of literacy that others in the field do not readily posses. This facet, along with the layered emotional dirge that comprises the music, creates a dichotomous invitation to a world that is usually, unconditionally private! It's very interesting because there are times (not exclusively) when it seems that this style of music usually tries to hold you at bay, so to speak, but this-- for whatever reason-- keeps you in tight. That facet, in and of itself, makes it original.
In terms of the songs themselves, there are many highlights. The CD starts out with "Cold Waste" which is characterized by deeply intoned vocals with an almost disco pattern played on the hi-hat to propel it initially. Than it changes tempo for the chorus and introduces the keyboards, which make subtle, intermittent appearances until they become a permanent fixture throughout. The song gradually builds a very lush atmosphere; something characteristic of the entire cd. "Death Is Our Freedom" comes at you with an almost pulsating feel, courtesy of the bass drum. In fact, the drumming really takes center stage in this one as its presence is always providing some "essential" transformation for the song. In addition, the vocal harmonies towards the end provide a nice dark vibe as well. The guitars, while mostly playing a supporting role to the compositions, really stand out in "Ladykiller". They introduce the song with a very pronounced attack and then act as a counter-melodic voice, which sound incredible with the tolling of the bells in the song. I mean, talk about great atmospheric interplay. It's almost as satisfying as a solo! You can't talk about the songs without mentioning "Days of Nothing". With it's subtle double bass drumming making it--in a way-- one of the more up-tempo songs; this is very romantic with what could be described as an "emotional longing" feel to it. It always feels like its reaching out; creating a mysterious tension, if you will. But the catch is… The tension has this unique softness about it. Not exactly how one would normally envision such a feeling and I actually find it quite remarkable.
This is one of the most satisfying gothic/doom recordings that I have ever come across. It's evident that this was given the proper time investment from every angle of its creation. "Sing the Sorrow, Enjoy the End". ~I absolutely agree~
Track Listing
1. Cold Waste
2. The Wandering
3. Death is Our Freedom
4. Departure
5. Eschaton
6. Last Minute Train
7. Ladykiller
8. The Fall
9. Days of Nothing
10. Into the Lips of the Earth
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