Desdemona

Rossometile are an unsigned Italian band from Salerno that have been around since the mid-90s, but have only released 5 albums so far. Their latest full-length, Desdemona, came out in April this year and this belated review is a shout to all fans of female-fronted symphonic/progressive metal not to miss out on this brilliant record.

A major strength of the album is that for Rossometile symphonic metal is a point of departure rather than a point of arrival. The band does not set limits on where to take this sound, bringing a fresh, exciting perspective on a genre that is often too self-referential and comfortable in its own niche. Throughout Desdemona, the band’s symphonic roots (lush orchestral arrangements, theatrical female vocals) are interwoven with traditional folk music, Italian opera and singer-songwriter music, giving the album a distinctive “Italian” sound that is further strengthened by the brave choice of singing in their native tongue. Elsewhere, Rossometile foray into power metal territory (“Hela e il Corvo”; “Rosaspina”), bringing to mind Italian symphonic power metal legends Rhapsody (of Fire). On “Nox Arcana” the band’s ambient/gothic influences (most evident on their earlier work) come to the fore, whereas on the title-track “Desdemona” and “Sole Che Cammini” recited vocals add a poetry-like feel to the music. The result is a very variegated album that displays some impressive songwriting and arranging skills, and places Rossometile at the border between progressive/art rock and symphonic metal, together with bands like Ex-Libris and The Gentle Storm.

Another strength of Desdemona is the fantastic voice of new singer Ilaria “Hela” Bernardini. Her vocal performance is absolutely magnificent, moving with ease between soprano and falsetto vocals and lower-register tones, and reminding me at times of legendary Italian singer Antonella Ruggiero. The range of vocal techniques that Hela employs on the album is impressive, from operatic vocals, to classical choral parts (“Hela e il Corvo”; “Boia Misericordioso”), to canon singing (“Canzone del Tramonto”), to Kulning - a Swedish traditional cattle-call singing style (“Mist”). The vocal arrangements are exquisite, detailed and multi-layered, and her delivery is always expressive and pitch-perfect. She truly elevates this already strong musical project to new heights.

But the rest of the band is no less talented. Guitarist Rosario “Ruis” Reina is a goldmine of classically-inspired riffs and solos. Gennaro “Rino” Barletta provides some tasteful and emphatic drumming (“Storie d’Amore e Peste”), and bassist Pasquale “Pat” Murino is also given space to shine in the most atmospheric passages (“Sole Che Cammini”). There is a lot of color on the album thanks to the use of synths and pianos and the addition of unusual instruments such as hurdy-gurdy, tin whistle, medieval bagpipes and bouzouki. The rich and sophisticated arrangements contribute to giving a very diverse and mature feel to the album.

If I had to find a fault to this otherwise excellent album, it would be the quality of the production that does not fully give justice to the complexity and sophistication of Rossometile’s ideas. In particular, I wish the drum and guitar sound were less thin and more “full-bodied”, giving more depth to the music. This limitation is particular evident when the band pushes on the accelerator on songs like “Hela e il Corvo” and “Rosaspina”, which would benefit from a more powerful and well-rounded production to match the performance. I also felt that the sequence of quieter, more atmospheric songs “Mist”-“Nox Arcana”-“Whales and the Baltic Sea Orchestra” in the second-half of the record reduces the tension a bit too much, breaking a bit the flow of the album.

But these are minor gripes that do not even come close to spoiling my enjoyment of the album. I consider Rossometile one of the most interesting and exciting metal bands to come out of Italy in recent years and I am amazed they are still unsigned. Desdemona is their crowning achievement, showcasing a mature and varied songwriting, classy arrangements, and strong performances. I highly recommend this album to anyone with an interest in folk-tinged symphonic/progressive metal.

(Originally written for The Metal Observer)