Style: progressive metal, doom metal, dark ambient (mixed vocals, mostly clean)
Recommended for fans of: Windhand, Chelsea Wolfe, Pijn, Latitudes
Country: Italy
Release date: 11 April 2025
Artistic development always comes at a cost. Individuality and consistency produce inherent tension, demanding that artists find compromise between their unique form of expression and the ability to communicate ideas in a resonant way. The Spin strikes a poised balance between forward progress and steady improvement, not so much an evolution reaching into new territory nor a recapitulation of tired, overly familiar themes as it is a recombination of existing traits developed throughout their prior discography. Underappreciated for far too long, the inventive Italian prog-doom metal outfit Messa have trod the boundary between underground and mainstream, jumping in popularity each time they released a new album or were featured in a roundup article somewhere, but never quite able to maintain that critical mass of fandom long-term. Perhaps they can finally spin ‘round their fortunes and build the audience they deserve.
Messa use their cauldron of influences to brew an otherworldly stew from ingredients including jazz, bluesy hard rock, dark ambient, and bleak doom metal. Longtime prog metal fans have probably already started imagining what this unholy concoction might sound like as if it’s the most normal thing in the world, but I encourage you to take a moment to consider the care required to create it. That they can throw together these alchemical components while maintaining such a high degree of cohesion is absolutely a testament to the musicians’ talents. The Spin pays off almost a decade of refining Messa’s signature blend, now distilled down to a potent spirit of sorrowful ambiance. Messa’s performance isn’t flashy with pretension or extravagance, instead opting for sharp, clean music saturated with emotional sediment drawn from doom metal’s benthic depths. The runtime also supports these shifting priorities—a shorter outing at a mere forty-ish minutes allows for a tighter focus on expressing the central driving anguish at the heart of the album.
Messa have undergone an interesting progression throughout their last few albums as they dial in on which facets of their music to showcase most. Where Feast for Water chose emotional expression as its first priority, Close settled into a more subdued but precise delivery. The Spin combines a bit of both approaches, presenting an immaculate, ethereal atmosphere that inherits the uncertain quietude of Feast while retaining some of Close’s assertive intensity. With all their varied influences, it’s a hefty task to balance the sparser sounds drawn from the ambient space with the thicker sections of blues/doom heartache, but Messa are equal to it. Despite the contrasts, both aspects contribute towards a common core of undefinable passion.
It’s hard to find an adjective more suited to Messa’s music than “haunting.” Every element, from Sara Bianchin’s voice lurking in the dark corners to the reverberating cymbal crashes, conspires to lure unsuspecting listeners close with soft sweetness before leaping into belted sections laden with devastating emotion. Beyond raw vocal power, though, The Spin develops its most compelling textures through the collaboration between Bianchin and the rest of the band. Moments like the choruses in “The Dress” perfectly marry the unique emotionality of the human voice with the inhuman intensity that amplified instruments provide. After an extended instrumental section featuring dueling solos from guitar and muted trumpet, the closing chorus reprise tears open the heavens with its towering display of emotion from both Bianchin and the accompanying guitars.
In contrast, The Spin’s verse sections prove to be its weakest point, often feeling like a means of getting from one point to another. Almost every track shares the same loose structure, usually with a pair of verse-chorus repetitions, an instrumental bridge, and one final chorus to close things out. The noteworthy moments arrive most consistently during those instrumental sections, as well as in individual flourishes and features—and let’s be clear, these are some stellar flourishes. That said, the verses in between feel like a return to the atmospheric but disappointing filler from Feast for Water (like “She Knows”). The Spin adds several layers of polish in both production and composition which help smooth over the listening experience compared to Messa’s earlier days, but it’s not enough to completely eliminate the underlying imperfections that still undercut their songwriting at times. Even with all of the band’s artistic progress uplifting The Spin, the empty verses of “At Races,” “Fire on the Roof,” and “Reveal” remain unfortunate detractors from an otherwise divine experience.
Sometimes, the price of consistency is character; other times, the price of progress is consistency. With their last two albums, Messa have now paid the price in both directions, first ramping up their consistency for a steadier and gentler outing in Close, then trading some of that consistency to hone their distinctive sound to its finest edge yet. While not every track on The Spin displays Messa’s full emotional range, the precision and quality of their musicianship are unquestionable, a testament to their effort and growth as artists. Furthermore, the highlights are truly stunning, enhancing vibrant performances with keen, experienced presentation. While the resulting album has its low points as well, Messa’s overall refinement of their sound and their display of stunning songwriting marks a turning point in their careers.
Recommended tracks: Void Meridian, Immolation, The Dress, Thicker Blood
You may also like: Dreadnought, Maud the Moth, healthyliving, SubRosa (the doom metal one from Utah)
Final verdict: 8/10
Related links: Bandcamp | Spotify | YouTube | Facebook | Instagram | Metal-Archives page
Label: Metal Blade Records – Bandcamp | Facebook | Official Website
Messa is:
– Sara Bianchin (vocals)
– Marco Zanin (bass, synthesizers)
– Alberto Piccolo (guitars, synthesizers, piano)
– Rocco Toaldo (drums, vocals)
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