It’s no secret that I’ve always been appreciative of Nicoletta Rosellini, and her numerous bands and projects. And this sentiment certainly does not appear to be at any risk of changing for the impending release of “Gods Don’t Take Calls” – the latest from Italian gothic/symphonic metal outfit Walk in Darkness. As despite the general premise of the album’s title, somehow all of my prayers for this new studio production were still answered (and then some).
The album is the follow-up to 2022’s essential “Leaves Rolling in Time”, and has been slated for release on December 12th, 2025. Similar to prior entries in the band’s discography, the quartet continues with their exploration of humanity’s decline, and its pre-occupation with superficialness and chaos. By combing through the ruins of this modern civilisation, and reflecting on our shared memory and identity, it serves like an almost prescient record of our joint upheaval, in a world where the gods are now silent. It is not without an enduring sense of hope, however, as each of our spirits are calling out for something greater. And there’s still a hint that beyond the darkness and disillusionment… a fragile light lives on.
The band itself needs no real introduction; not just because they choose to be anonymous. Aside from Rosellini herself, who is credited as being a lyricist/co-songwriter for the album along with lead vocalist, the other members have an air of mystery about them due to their hooded attire. But we do know that Shaman is the main creative power behind the band as guitarist, lead composer and lyricist. While Monk Key and Arcanus, complete the line-up by looking after the bass and drums respectively. It’s worth noting that this anonymity is more than just an aesthetic decision. It feeds into a more profound function, whereby the art can direct emphasis on universal themes and essences, as opposed to personalised concepts.
The starting build-up and tension of “Nico Rising” hits you right in the chest, well before the band powers through your speakers with their own predominant intensity. The sensation of urgency is palpable, as if the band’s message has gained greater importance since our last encounter with them – beckoning listeners to find inner purity and search for hidden truths. An encouragement that is echoed in “Across the Oceans“, a song that pushes the case for humanity’s rebirth, and the desperate need to seek the light from out of this modern chaos.
We must free the chained Gods
Walk in Darkness – Across the Oceans
And rebuild the pillars that hold the sky
To walk over these dark clouds
To restore light and find a way
Rosellini is the face and voice for all these concerns, and there is none more capable to serve as your harbinger. With her warm-sounding and emotion-rich vocal inflection, she stands miles apart from her peers. Her tone is also perfect, as she strikes the right balance of compassion, without any of the usual side-effects of being preachy. It also helps that her singing blends in seamlessly with this dark, foreboding instrumentation that is the trademark of Walk in Darkness. Their music paints a desolate soundscape for listeners through its dense mixture of cinematic orchestral arrangements, deep melodic structures, and heavy guitar riffs (and solos), where each note conveys the genuine sensation of weight and purpose.
If there is a song which encapsulates the beating heart of this album, then it would have to be “No Banners, No Glory“, and its harrowing prophecy of the demise of Western societies. With the subsequent need to travel East – not for conquest, but instead to find kinship and spiritual freedom. The music is suitably dramatic and reminiscent of early Tristania thanks to the vocal work (both clean and guttural) and cinematic string sections; the former aided by guest vocalist Clara Sorace. It’s this pursuit for salvation that leads us into “Chasing the Horizon“, a punchy anthem and one of the biggest highlights of the album. It benefits from the added growls of longtime collaborator Emiliano Pasquinelli, whose brutal interjections contrast beautifully with Rosellini’s softer approach. But the composition is empowering in its message as well: “We fight and fall, through the ever-changing tides of Time // Raising our gaze towards the horizon line. // Caught in the endless cycle of wars, we cope // Hanging on the unsteady wings of hope // On the wings of hope“.
“Freedom” is a pointed reminder of the invisible shackles of our modern-day existence, and is immediately attention-grabbing from a musical standpoint, due to its multi-layered vocal textures and interludes of classical guitar, lending an unpredictability to the song structure. A trait that is further driven home when it swiftly escalates to an epic emotional crescendo, thus matching the symbolic breakthrough of the narrator, who suggests refuge in your own thoughts: “I cherish freedom // the visions of dreamers // And all that rises in the madness of the wind“. While “Mother” plays out as a touching tribute to nature and the cosmos, as soft acoustics are punctuated with rich, saturated guitar tones, which seemingly hang in the air for an eternity, and the calm, nurturing vocals of Rosellini, while humanity “bows in silence” and willingly surrenders itself to technology.
“Towards Chang’an” is another attempt by Walk in Darkness to underscore the importance of spiritual enlightenment, and is expressed through a symbolic journey towards a mythical destination that promises wisdom and peace. The song is replete with all the elements you have come to expect from the band: from the conceptual gravity, contrasting vocalisations, and brooding ambience, to the juxtaposition of classical and heavy guitar rhythms. The last track, “You Who Dream“, ties everything together for us with its celebration of the dreamers and quiet thinkers who are resistant to humanity’s technological enslavement, and the final pleading call to its audience to hold onto that which is important – such as taking our time to look out onto the ocean, to dream, to effectively… “stay human“.
Walk in Darkness have clearly distinguished themselves from other metal acts during their career, pushing beyond the confines of the gothic metal genre with their thought-provoking lyrics and their unique fusion of sound and philosophy. As a refresher of the band’s notable origins, we are also treated to the spectacular bonus track “Last Siren (Revisited)“, which is a newly enhanced rendition of a beloved classic from their debut album “In the Shadows of Things” (2017). Its inclusion does feel like a “full-circle moment”, which hopefully does not indicate that “Gods Don’t Take Calls” is the last release we will see from Walk in Darkness. But if that is indeed the case, we could not have received a more perfect bookend.
Verdict: With “Gods Don’t Take Calls”, Walk in Darkness have refined this dystopian sound for which they are renowned to a fine art. The album takes you on a philosophical journey, where cautious undertones are ever present, but are also mercifully counterbalanced with sparks of light and optimism. A fully immersive and unmissable experience for any gothic metal fan – which will forever establish the legacy of Walk in Darkness as one of the most visionary and spiritually-invested metal bands of our generation.
