Aah, Italy. The country that gave us fast cars, high fashion, fine wine and… scarlet doom metal. OK, it might not be known for that last one just yet, but if the star of Northern Veneto’s Messa keeps ascending, then it’s surely just a matter of time. Their 2022 album, Close, was one of my favourite releases of that year, with its skilful blend of doom, black metal, jazz, prog and folk keeping me glued to every note. I was lucky enough to see them live at one of the smallest venues in Camden Town, and damn, these guys can really play. In Sara Bianchin the band possess a true vocal talent capable of incredible range, immaculate delivery and a unique ability to captivate her audience. In fact, I would say her live performance was even more powerful than it sounds on record, and there are not many vocalists you can say that about. The years since Close have seen Messa growing their reputation further with impressive performances at festivals across Europe, including one at Roadburn with additional instrumentalists, which was then released as a live album. In 2024 they signed a deal with Metal Blade records and announced a new album was on the way. Well, The Spin is now here and I’ve been listening to it non-stop for about two weeks. So let’s break this down.
The Spin feels like a bold step forward for Messa, not only in terms of scale but also their overall sound. You can imagine hearing these songs billowing through arenas (as opposed to the tiny room above a pub I saw them in), and I’m guessing that was a very conscious decision. There is, predictably perhaps, less reliance on the heavier, doom metal influences, and a whole lot more prog rock coursing through this album’s veins. With that comes a healthy amount of synth and keyboard, which feels appropriate, but also takes some getting used to. “Immolation” will likely be a litmus test for a lot of old school fans, with its 1980s era (more on this later) keyboard intro section showcasing this new direction. However, there is a delicious guitar solo-laden second act to the song that should bring everyone back on side. The overall air of this track had me thinking of the Guns 'n' Roses classic “November Rain”, with all of its rock opera dramatics, which definitely wasn’t what I was expecting from this album, but the band execute it with aplomb.
The balancing act continues throughout the album, and it’s done with great care, as Messa were clearly conscious about alienating their original fan base that brought them to this point. Album opener "Void Meridian" sets the scene by creating an eerie gothic atmosphere, with Sara's soaring vocals luring you into Messa's black neon world. "At Races" is an absolute triumph and probably the best example of Messa's sound in 2025. Its mid-tempo beat keeps things rolling nicely, only to unfurl into something far more ambitious, brooding and epic. The final two tracks on the record, “Reveal” and “Thicker Blood”, serve up some much-needed nastiness, with flourishes of blast beats, serrated guitars, haunting vocals and even a growl thrown in for good measure. “Fire on the Roof” has a distinct Baroness vibe running through it, with chunky riffs and a catchy sing-along chorus Mr Baizley would be proud of.
In case you hadn't guessed already, the whole record has a very distinctive 1980’s sound, including the style of production and a selection of instruments sourced from that decade. They even decided to use a 1980’s mixing desk to make the record sound as authentic as possible. While their previous full lengths focused on a 70’s sound, this jump to the 80’s feels like it has energised and challenged the band in equal measure. There are some brave decisions, including the reliance on synth (some sections sound like they could belong on the Stranger Things soundtrack), but also putting Sara’s vocals so high in the final mix, which was yet another way to stay true to the 80’s production style.
An element has been removed that I do somewhat miss, which is the more folky, world music instrumentation that was particularly present on Close. While it seems a shame to lose this aspect completely, I also understand that these influences don’t particularly tie in to The Spin’s 80’s theme. The further Messa progress in their career it’s clear that they do not like to retread the same path, instead opting to explore new ideas and sounds, which can only be applauded, even if I do pine for some of the older components.
There is no escaping the fact that The Spin is a much lighter album than many might have expected, and not just in terms of the music itself. The whole thing feels brighter, more agile and practically floats on a bed of dry ice as each track cascades out of your speakers. What it lacks in heaviness it more than makes up for in songwriting and memorability. Some of these songs are so infectious they should come with their own vaccine. If you’re not humming the main riffs of “At Races” or “The Dress” while you’re brushing your teeth or waiting in line at the coffee shop, then there is clearly something wrong with you.
This is yet another seriously accomplished album from Messa, who can now rightly be considered darlings of progressive doom. The Spin not only looks to break new ground by using sounds from the past but pushes our expectations of what can be classified as doom. I fully expect this to be on many writers’ album of the year lists, and sincerely hope I get the chance to see these four talented Italians perform their material live in the near future.