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Forgotten Tomb – The Zenith of Discomfort

By: David E. Gehlke



Gotta love the way in which Italy’s Forgotten Tomb operates; there’s no cloak-and-dagger lyrical roundabouts, or symphonic hankerings, or even bloated, album-long concepts. Herr Morbid and team just put their heads down, grappling with post black stylizations, and catchy-as-fuck Goth metal heart-tugging. Like last year’s most excellent Under Saturn Retrograde, their new …And Don’t Deliver Us From Evil is impactful from the start, with FT staying out of predictable territory via the brash “Cold Summer” and memorable “Adrift,” which benefits from Morbid’s underrated clean vocals. In all, it’s a brilliant black/Goth metal hybrid that for the most part, eludes proper description.

Never at a loss for words, we grabbed Mr. Morbid for a round of questions. As expected, the frontman held up his end of the bargain…


Blistering.com: We’ll start with the obvious question: Why such the quick turnaround between albums?

Herr Morbid:
Why not? Inspiration was there, so we just kept the ball rolling. We took over three years in between Love's Burial Ground and Negative Megalomania, then other four in between that and Under Saturn Retrograde, this time only a little more than one year. Let's hope the next album comes around in no more than one year and half or so.

Blistering.com: How much live support did you give Under Saturn Retrograde? And if so, how did the shows turn out?

Morbid:
Quite a lot, we'll have played around 30 shows in between 2011 and end of 2012. Most of them were very good, especially on big festivals such as Hellfest in France. We'll see how the upcoming tour goes.

Blistering.com: You’ve added a new guitarist in the form of A. How is he working out?

Morbid:
Pretty good I'd say, though he didn't record on the album, I took care of all guitar duties for this one.

Blistering.com: Under Saturn Retrograde could been seen as the proper launch point for …And Don’t Deliver Us. It feels like this one is more stripped down, though. A case of less is more? At the same time, it’s still very in-your-face, much like Under Saturn was. Is this done in part to make them come across better live?

Morbid:
I think we took the more rocking vibe and the aggression of Under Saturn Retrograde and took it to the next level, while at the same time we went heavier and darker and got back many elements from our early albums. In general, compared to USR, which was very melancholic, this new album is sicker and more desperate. It’s totally dark. We certainly became more straight-forward and “rockish” over the years, though the depressive and dark feeling is still totally there, in fact I think this new album is the darkest album we’ve ever done after Love’s Burial Ground. We like all of our albums, but this time we just outdid ourselves in terms of songwriting and atmosphere. I personally consider this album one of the best I ever wrote and I could die happily after its release. Nothing to regret about these new songs. 100% Forgotten Tomb fucked up shit.

Evolution is needed because we always want to keep up to date and to be way beyond the awful amount of clone-bands there are around nowadays. We started a whole sub-movement back in the days, so we always have to lead, certainly not to step back. This said, it also comes natural because we became better musicians and my songwriting skills got more mature, probably also because of getting older and such. It’s mostly a constant research to reach the zenith of discomfort, which musically speaking is made possible also by an improved technique and by an attitude getting stronger and more focused album after album. We took a great care of arrangements though, so it might sound apparently more direct but if you listen closely to it there's a huge amount of guitar and bass layers there, lots of things to be discovered after every listening session.

Blistering.com: Take one look at some of the song titles from the new album…there’s some seriously dark and twisted stuff going on. Your “darkest” to date?

Morbid:
Yeah, definitely, as said before. It’s a very personal album lyric-wise. There a couple of songs about love and fucked up relationships, which is something I haven’t talked about in years, for instance. But it doesn’t get too specific, it’s mostly my vision of how I see and live this kind of things nowadays, and it’s incredibly negative stuff. Nothing fancy or “emo” like some people might suspect. It’s completely dark stuff. It’s about things that I experienced myself but it’s also about what I see around me.

Then there are other songs dealing with pure despair and self-destruction, stuff about this will to die and disappear that caught my life over the last year and half. Things got incredibly dark at a certain point and I just came up with these lyrics. Haters gonna hate, though this is just how I felt when I wrote the lyrics and if you think I’m a poser or something, you can kiss my ass and go fuck yourself right away, ‘cause I lived and suffered every fucking line in these new lyrics. There are also many references to sickness/diseases, physical pain and abuse of alcohol and several other stuff. And again, it’s both stuff that I lived on my skin, as well as the atmosphere of complete decadence I’ve been living in during the whole songwriting. Generally speaking, it’s an incredibly dark album lyrically-wise, it never got so dark since Love’s Burial Ground, but the difference is that now I’m an adult and I have the proper skills to write down this stuff without regretting it afterwards.

This album to me sounds like a testament of someone who could die from a moment to the other. And if it would happen, I would have nothing to regret ‘cause I really said it all through these seven songs. I just totally nailed it this time, which in a way makes me proud of what I accomplished with this album but at the same time it feels so incredibly miserable to listen to these songs. There are moments in these songs where I feel like breaking down when I listen to. It’s a tough album for me to listen to, and this wasn’t happening since a lot of time, so I think fans should feel all this pain is fucking real.


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