Tag: Nicoletta Rosellini
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.
A lot of fans were naturally disappointed when Kalidia, one of Italy’s best power metal groups, announced they were splitting up in 2023. But change can sometimes be a positive thing, and looking back on the news now, it is difficult not to view it as anything but a blessing in disguise. Seeing as the former members have now risen up from the ashes, brushed themselves off, and forged ahead with separate metal acts. One of these ventures is the recently revealed Xeneris, featuring ex-Kalidia members Frederico Paolini (co-founder, composer/guitarist) and Roberto Donati (co-founder, bassist). While the other is Nicoletta Rosellini’s (vocals) very own Alterium project, accompanied by former bandmate Dario Gozzi (drums), which just released its first full-length album “Of War and Flames” on March 8th, 2024 via AFM Records/Soulfood Music.
This ‘two for the price of one’ deal is not the only happy side-effect, since the breakup also seems to have given both parties a revitalised purpose and vigour. That’s certainly the case when judging Alterium‘s debut album, but one could also make the same early inference from Xerenis’ first single “Eternal Rising“. With regards to Alterium in particular, it seems as though the new setting has done a world of good for frontwoman Rosellini, who sings like she has been given a whole new lease on life. Rounding out the band roster is: Paolo Campitelli (guitars), Alessandro Mammola (guitars) and Luca Scalabrin (bass). Each of whom brings their past experience of working with other bands in the power metal genre (e.g. Draconicon, Kaledon, and Altair). And like the mathematical summation symbol (Σ) present in the band’s logo, Alterium benefits substantially from the accumulation of this combined wisdom. Because the end outcome is a highly cohesive and formidable new quintet, equipped with a near limitless amount of energy and creativity at its disposal.
A fact apparent from the beginning, with opening gambit “Drag Me To Hell” immediately breathing new life into the genre. The flying pace and boundless exuberance of the track will definitely get a few hearts racing, while it barrels through your speakers and stealthily earworms its way into your head. Those of a geekier persuasion may also pick up on the references to Warcraft lore in the lyrics, which describes the crowning of a new Lich King. It’s not the last time Rosellini exposes some of her gaming interests on the album. Another example later on is “Crossroads Inn“, which serves as a fun, light-hearted metal tribute to a management video game bearing the same name. Only in the power metal genre could a game simulating a medieval tavern be conveyed so earnestly, and the Italian group spare no effort or detail in recreating the atmosphere in an accompanying music video as well.
In earlier moments of the album, Rosellini lends her enchanting vocals to “Siren’s Call“, where she makes a truly compelling appeal: “Hear my cry // Flowing with the winds and storms // Once you’re mine, forever you will be“. The song is of course inspired by the scene in Homer’s “The Odyssey“, where Odysseus is forced to tie himself to the mast of his ship in order to resist the dangers of the siren’s call. Honestly if the sounds he heard were even remotely close to Rosellini’s enticing performance here, then I could fully understand the necessity of this measure. The following track “Of War And Flames” takes us from Greek mythology to Egyptian mythology. The song shares the same title as the album, and once you hear it you’ll understand why, as it’s definitely the main highlight. The tune focuses on the story of Sekhmet, a goddess of war who embodied the powers of the sun god Ra, and was said to be capable of vanquishing her enemies with her fiery breath. If you need help visualising her, the album artwork also depicts Sekhmet as she is entering her temple. You could argue that she bears a likeness to Rosellini herself, who is similarly renowned for the characteristic warmth of her singing voice, and whose vocal delivery is regularly a force to be reckoned with as well. The track is further enhanced with regal choirs and symphonic parts, and blessed with a multitude of hooks and catchy vocal lines, including in the pre-chorus bridge showcasing Rosellini’s range and impressive ability to sustain notes:
Her bloodlust never ends
Alterium – Of War and Flames
Not even after the revenge
Surrender to her rage
Alterium continues to impress elsewhere on the album, turning up the heat and intensity again with “Firebringer“. In typical power metal fashion, it is a fast, robust track – but with some added symphonic flourishes to give it that richer dynamic. Rosellini’s melodious and powerful tones also fluctuate between a tight, lower register to a more open and airy pitch. “Shadowsong” guides us into the latter half of the album, introducing a plethora of intricate instrumentation, and mighty face-punching drum beats, whereas “Crystalline” finally slows down the tempo a bit, and gifts us with beautifully drawn-out, soaring guitar solos amidst a touching piano-laden ballad; a sound that admittedly has more in common with Rosellini’s gothic metal band Walk in Darkness. Nevertheless, “Heroine of the Sea” quickly pushes it back to a more power metal focus, with a bobbing, mid-tempo number which takes you on a pirate voyage across the seas: “Sailing on, to a new adventure // Time to fight, time to die”.
Alterium rachet up the speed and technicality for one more power metal jaunt in “Chasing the Sun“, the last original composition on the album and one of the more interesting due to the meter changes and neo-classical arrangements throughout its duration. I also need to give particular credit to the mixing and production of this album, for everything sounds so crisp and neatly balanced. It really does have a completely fresh sound – even after over a month of listening to it before writing this review. Alterium close out their debut album with a final cover of Sabaton’s “Bismark“, and while this Swedish band are probably a little over-represented when it comes to covers of their songs at this point, it is still an admirable and enjoyable rendition. Plus it is very much consistent with the band’s affection for performing songs that contain a story or historical context. On the whole, Alterium have impressed on every conceivable level with “Of War and Flames“. I’d always had an inkling that they would create a great album, but I was wholly unprepared for them to go a step further and deliver such an epic masterpiece. I couldn’t have asked for a better continuation of their previous legacy, and I’m personally more excited than ever to see where they take us next.
Verdict: Alterium’s “Of War and Flames” is mandatory listening for every power metal fan. The decision by ex-Kalidia members to found this new entity has not only borne out to be a calculated and beneficial manoeuvre, but has surprisingly culminated in the best power metal album I’ve heard for a long time. A triumph of both perseverance and adaptation.
