Behind the moniker Furnasetta hides an Italian industrial collective that is now quite well known in its niche. The discography began in 2018 with the semi-clandestine EP “Dawn Of The White Hearts”, but it was with “Infernot” (2024) that the project had reached a complete and brutal form: a hard and uncompromising version of riff deconstructed hardcore, hip-hop songs and punk impetuosity, all devastated by continuous noise-industrial interference.
The new “Something Wicked This Way Comes” presents itself instead as a return to the origins in monstrous form: a real two-faced Janus who looks simultaneously at the past and the future. A record that delves into the roots of industrial archeology and which aims – as declared by the band – to be configured as an album of black metal hauntology.
In fact, the distorted guitars appear so distant and corroded that they give the impression of having been recorded on a tape from many decades ago, now close to complete dissolution. More than an instrument, the guitar becomes a ghost: a ghostly, invisible, almost absent evocation that is recalled as if in a séance.
On the contrary, the industrial, noise and dark-ambient elements are more vivid and tangible. You can feel it in the obsessive drones of “Elephant Cemetery”, in riff dead and unrecognizable in “Hell In Dub” or in the rigorous “I Was Born In West Texas”, divided into at least three distinct movements: an ambient introduction, the entrance of the song and finally the explosion – or rather the terminal deformation – of the distortions.
In “Something Wicked This Way Comes” La Furnasetta ends up revealing rock as something putrescent: a fetid carcass, now reduced to a relic, to be exhumed not out of nostalgia, but to show its decomposition. Perhaps showing us part of the truth.
01/11/2026
Antonio Santini for SANREMO.FM
