Inhaling the death-scented Lethean gloom one lungful at a time rends the mind magick’d free of all the hopelessness of now disintegrating memories, the fade of all the answers sought and cuts the cordage of nostalgia that’d long been yanking away the pleasure of the moment. Taking stock of the soul after having been cleansed of the mind’s fables and tribulations does not zombify northern Italy-based traditional doom metal trio Bottomless on this second full-length album, but grants them a new path of emotionally driven recall to wind and trickle down. ‘The Banishing‘ is as much an audit as it is a triumph, a remarkable specimen of classics-minded authenticity which celebrates the earnest and imaginative side of doom metal past while speaking to heavy rock and heavy metal built standards. As a second point of unexpected mastery we can once again accuse these folks of bleeding their own blood out in these pieces, managing their own pure and frankly irresistible thread rather than imitating the old gods’ scenery and spire.

Bottomless formed circa 2016 between Giorgio Trombino and David Lucido, folks best known for their funeral death/doom metal band Assumption, who were eventually joined by bassist Sara Bianchin of Messa. It’d been a side project in development for years before they’d pulled the trigger on the idea in 2021 when they’d announced a mid-summer debut full-length (‘Bottomless‘, 2021) would hit by way of Italian label Spikerot Records. As was the case with many solid recordings in the mid-pandemic flood of releases many’d missed the album entirely, myself included, but even a quick spin today reveals the clear intent of the band in contribution to and revelry of the heavy rock informed style of 80’s traditional doom metal. Sabbath grooved, Pentagram-skulled and (early) The Obsessed-wise in muse with a bit of Candlemass around the edges of their slower pieces it was a sublime, spirited debut release. While some of the singles from the record were a bit stiff in terms of their riffcraft (“Ash”, for example) most of that first LP felt like a natural tribute to the soulful origins of the trait and tempo with Trombino‘s vocals landing with a bit of a NWOBHM-era wane to their phrasing, affected but not wilting. No question I’d have set it high on my best doom of 2021 consideration if it’d hit my inbox that year.

Just a couple years later and fresh off both of their main bands releasing career defining records in 2022 Bottomless surely arrives as a bit of fresh air from a band with a slow n’ miserable underdog spiritus in hand. The ‘retro’ touch of their sound doesn’t intend a subtle approach to traditional doom metal, the wizened ease of ‘The Banishing‘ speaks loudly to a slightly more ‘epic’ and dour feeling as they step from ‘Day of Reckoning‘-era Liebling-esque swinging dread on opener “Let Them Burn” (“Illusion Sun” as well) ’til they hit upon the Paul Chain steeped mystic touch of “The Great Unknown“; Much as I’d like to run down a list of relevant Italian doom metal groups of old yesterdays and stoney todays otherwise there is certainly nothing ‘necro’ or particularly baked about this style, as you’ll find shades of early Swedish ‘epic’ doom, even a bit of Manilla Road in their pool of inspiration and thankfully none of it is so obvious or typical. What I will say is that the mood rings heavier, again not unlike the earlier singles from maestro Catena.

Though Bottomless‘ late 70’s tinged side was more pronounced on ‘Bottomless‘ here the melodic edge of the band softens slightly, not exactly Quartz in terms of carrying a stamping heavy metal tune (“By the Sword of the Archangel” does kinda get there…) but improving upon the distant, hiked shouldered tension of the first record with a more dismal yet ancient heavy metal feeling, much more than a Sabbath groove at the very least. “Standing in the Dimming Light” in particular takes us there with a memorable chorus and a bluesy edge to its steady, slow stomping trad metal movement while easier-going pieces like “Illusion Sun” keep the momentum up and the mood consistent in its album spanning verve. My favorite pieces on the album, “Guardians of Silence”, is essentially an epic heavy/doom metal piece by my own standards opening with a ‘Nightfall‘-sized lead-in and a brilliant second half which sparks up into jogging speed around ~5:30 minutes in, riding out to a point of strumming resolve. The broad middle portion of the album is incredible in its very ‘heavy metal’ spirited (but not too heavy handed) treatments and from my point of view this is the best aspect of album number two from these folks.

In terms of memorable heavy rock influenced songwriting, spacious render, and a real sense for classicist heavy/traditional doom metal with eight very different pieces lining up into a coherent full-length album no doubt Bottomless haven’t just figured out a formula, cracked some ancient code, but they’ve once again featured in earnest taste and talent for the old touch. The bass could use slightly more definition for my taste, though they’re aiming for a pretty pure cleanliness which growls at a satisfying enough level. The album artwork is well designed, evocative enough in its mood and should speak to the classicist doom metal aesthetic despite it not being shot in a graveyard, or, leaning up against a mossy old cross. All angles considered these folks have once again impressed with an effortlessly superior sermon, a beyond worthy choir of the old ways which continues to develop a voice which is heavy on tradition but rings out as their own nonetheless. Beyond that ‘The Banishing‘ manages to be a pleasure to spin on repeat, a dramatic ride through real dread, nostalgia and escapism to an authentic result. A high recommendation.

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