Hollow is the debut album by the Israeli band Tomorrow’s Rain: this might make you think of an inexperienced band, but in fact the group from Tel Aviv was founded at the beginning of the century by vocalist Yishal Sweartz and after several years spent performing live, accompanying the major international realities of the gothic death doom scene, only now has found the ideal conditions to come out with a work in which, beyond the intrinsic value of the tracks, the names of the guests called to participate stand out. Hollow features, among others, Aaron Stainthorpe (My Dying Bride), Greg Mackintosh (Paradise Lost), Sakis Tolis (Rotting Christ), Kobi Fahri (Orphaned Land), Fernando Ribeiro (Moonspell), Mikko Kotamaki (Swallow The Sun), Jeff Loomis (ex-Nevermore) and Spiros Antoniou (Septicflesh). The only problem with such a deployment of forces is that it risks shifting the focus of each song to the guest of the moment, overshadowing the objective goodness of songs that are at the same time exciting, melancholic and catchy. Among these, Fear stands out, dominated by Stainthorpe’s sorrowful singing, In The Corner Of A Dead End Street with the couple Tolis-Mackintosh and the great solo of the latter in the finale, and Misery Rain with the measured but fundamental vocal contribution of Ribeiro and Kotamäki to frame a really splendid song. In short, Hollow is an album that is appreciated from the first to the last note, with its oscillation between the roughness of death doom and important gothic pulses; in conclusion, it’s worth mentioning the cover of the famous The Weeping Song by Nick Cave (for those who guiltily don’t know it, go and find the priceless video with the Australian genius and Blixa Bargeld dressed as tipsy priests drifting on a boat), here re-proposed with the essential support of the voice of Kobi Fahri, the most important figure of the Israeli metal scene. All that remains for Tomorrow’s Rain is to give continuity to this magnificent debut, perhaps trying to do so without external help, always welcome but sometimes misleading for the listener.
2020 – AOP Records