Shapeshifting and mecurial, the fourth album from self-described ‘scarlet doom’ act Messa reveals refinement and maturity while retaining their innate sense of mystery.
While their early doom whumps were undeniably satisfying, 2022’s Close offered a change of tone and tack, folding in proggier stylings and more by way of worldly instrumentation. The Spin, in typically contrary fashion, seems both a step away from such endeavours and a leap towards their logical conclusion.
It’s a swaggering, bluesy, jazz-dappled record that’s fully aware of rock’n’roll’s fabulously storied history, but the band are on decidedly unshowy form as they weave from one knockout moment to the next. While no less ambitious, things have been pared back to the point where strings of sinew and nubs of glistening bone are visible.
The band’s maximalist tendencies have been reined in, their Siouxsie-Sioux-gone-Black-Sabbath vibes boiled down and seasoned with deathrock influences that encompass both the rangy punkishness of Christian Death and bombastic Sisters Of Mercy gusto.
The skeletal spaciousness and chorus pedal-dosed guitars prove to be a grand fit, heightening rather than detracting from their anthemic power. Fire On The Roof showcases the skin-prickling range, depth and strength of Sara Bianchin’s voice, while The Dress channels the gloom of vintage Alice In Chains and Reveal divides itself between choppy riffing, surging slide guitar and huge, slithering grooves. Seismic closing track Thicker Blood even manages to throw in some bloodcurdling howls that are as surprising as they are effective.
As with all Messa releases, the results are enveloping and uncannily cohesive. The Spin is spare, lean and dripping with dark intent – an album that further cements their hero status, and shows them to be as deadly with a single silver blade as they are commanding bloodthirsty doom battalions.
The Spin is out April 11 via Metal Blade.
