The Foreshadowing
Second World

It is a distinctly Italian attitude to exalt, sometimes beyond reality, the works of the Bel Paese, whether discussing music, cinema, literature, or even sports. This is a convention shared by other European countries as well: to nurture and exalt a product that bears the stamp of the country of origin, in a strange burst of materialistic patriotism. Such is the case with "Second World," the third studio album by the Roman band The Foreshadowing. Enthusiastic reviews have been written about this album, released last April, praising it as one of the most interesting Italian metal albums of recent years. Exaggeration? In part, yes.

The cover already tells us everything with its dark colors and apocalyptic scenario: the music of the Roman sextet is heavy, at times monolithic but also "light," it diverges, runs, and circles back on itself. It is a gothic metal with decadent shades, that touches doom for the slowness and evocative scope of certain moments, that winks at the alternative and dark prog of Tool, but is above all a dark rock deeply influenced by the Swedish masters of the genre: Katatonia. The proposition clearly refers to other bands, but at least in its essential features, it presents a certain personality that allows "Second World" to avoid the trap of the "already heard."

Clear coordinates and ideas: the opening, entrusted to the seven minutes of "Havoc." is suggestive, with the band showing all their taste for finding the right atmospheres, which explode in the dramatic and theatrical finale. Splendid in its absolute simplicity is "Outcast," where the influence of Katatonia's "The Great Cold Distance" is clearly felt: a note of merit goes to the singer Marco Benevento, who delivers a heartfelt performance, halfway between Jonas Renkse and Aaron Stainthorpe.

The references and influences are clear, but TF skillfully rework everything with mastery and a personal touch. The problem arises when the tracks seem to have no outlet, as happens in the central part of the CD and in the final "Friends of Pain." It's as if the band looks at themselves in the mirror, searching for a spark, a passage that can add something to the CD: in short, there is a pinch of excessive mannerism in "Second World," but this does not detract from respectable tracks like "Ground Zero" and "Colonies."

It matters little to catalog it as doom, gothic, prog, or metal in the strict sense: The Foreshadowing have composed a valid, heartfelt CD with interesting solutions. It may not be the masterpiece some proclaim, but it is certainly a demonstration of how Italy can also have its say in such "niche" genres.

Three and a half stars.

1. "Havoc" (7:13)
2. "Outcast" (4:51)
3. "The Forsaken Son" (4:34)
4. "Second World" (5:37)
5. "Aftermaths" (6:28)
6. "Ground Zero" (4:30)
7. "Reverie Is A Tyrant" (5:15)
8. "Colonies" (6:21)
9. "Noli Timere" (6:00)
10. "Friends Of Pain" (4:01)