Back in 2016, when this column had a different name in a different publication, I stumbled upon Italian doom band Messa and their debut full-length, Belfry. It lit in me a particular fire — a fire signaling that this band could really cross over.
While Belfry could go into dimly lit drones and dark jazz excursions, the band never lost sight of doom fundamentals — crushing riffs that leant to a suffocating yet enticing atmosphere, and a captivating vocal performance from Sara Bianchin, who strikes that sweet spot of virtuosity and bluesy warmth. When it hits, it hits. Familiar yet enticing, Messa definitely had everything in line for a
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