In 2011, Woods of Ypres frontman David Gold passed away in a car accident at the age of thirty-one, leaving a dreadful void in the doom metal world. Since 2013, Shores of Null have filled that void somewhat with their own style of blackened doom, and their fourth album The Loss of Beauty may be their own Woods 5: Grey Skies & Electric Light. It’s that good.
With lyrics like “my loneliness will guide me” and “isolation will set us free,” classic doom drumming, and alternately melodic and despairing blackened vocals, Shores of Null announce their intent to deliver the best blackened doom album of 2023. The opening track “Transitory” hints at their philosophy: this life is temporary; welcome the end with open arms. Over the next ten tracks (plus two bonus tracks, including the delightfully odd “Underwater Oddity”), Shores of Null explore that belief.
“The Loss of Beauty may be their own Woods 5: Grey Skies & Electric Light. It’s that good. ”
“Destination Woe” highlights Davide Straccione’s impressive pipes: Straccione does everything from clean to black to death vocals and, in every style, ensures the lyrics are enunciated. Emiliano Cantiano’s drums are locked in with bassist Matteo Capozucca tighter than a casket. Raffaele Colace and Gabriele Giaccari provide the requisite wall of guitar riffs, and throw in some of the best doomy solos of the year to boot. Two particular highlights of the band’s skills are “Nothing Left to Burn” and “Nature of Disguise.” The former is riff central for The Loss of Beauty; the latter sinks its brilliant riffing underneath the album’s most desperate vocals.
In Frank Capra’s classic film “It’s a Wonderful Life,” protagonist George Bailey is guiding his business through the beginning of the United States’ 1929 market crash. He says to his clientele and friends, “Now, just remember that this thing isn’t as black as it appears.” Sirens wail by in the street below as he finishes. Shores of Null take a similar approach, albeit more intentionally than Bailey’s unfortunately timed comment. Halfway through the album, “The First Son” introduces space to breathe for a moment. A newborn infant cries and the layered piano and strings sound almost joyful. For a second, joy suggests life isn’t as black as it appears. Then “A Nature In Disguise,” the best track on The Loss of Beauty, crashes back to tell the listener isolation sets people free.
“Emiliano Cantiano’s drums are locked in with Matteo Capozucca's bass tighter than a casket. ”
Shores of Null have created a career-highlight album, but it is not without a minor flaw or two. Certain transitions between songs, i.e., “Nothing Left to Burn” and “Old Scars” or “My Darkest Years” and “Fading As One,” (with the former being the worst offender) are awkward. The last few seconds of both transitions introduce rhythmic changes that should take another minute or two to resolve that musical idea, but the song ends within seconds of the switch-up. The only other nitpick is that, even bonus tracks aside, the album ran a song or two long. The first half of The Loss of Beauty is doomy delight; the second half is less delight and more doom. If “My Darkest Years” was trimmed by about a third and “Fading As One” was cut completely, the album would have benefitted tremendously.
The Loss of Beauty is a triumph. Over eleven tracks, Shores of Null craft an album for the loners, the hurting, and the outcasts. The Roman five-piece do not attempt to soothe the pain. They sink down alongside the miserable; they understand sometimes life does not bring joy to everyone. “A New Death Is Born” closes the album with such a sentiment: “Far beyond your loneliness / Far beyond your own hell / When I’m powerless / Don’t balk; lower me down.” Welcome the end; a new death is born. Shores of Null’s The Loss of Beauty is a comforting must-listen for any fan of doom.