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BELLADONNA
Shooting Dice With God

Self-released (2013)
Rating: 7/10

Belladonna is an Italian rock band and Shooting Dice With God is their fourth opus. I come into this review knowing nothing about this act, which is probably a good thing as it gives me an entirely fresh perspective without influence of past recordings.

Immediately I’m struck by this refreshing brand of what people are calling rock noir, an almost goth-tinged, theatrical style of hard rock that is as dramatic as it is sweeping. Vocalist Luana Caraffa has a tremendously melodic voice which sits nicely alongside the pop-tinged leads of guitarist Dani Macchi.

The five-piece are very much modern in their sound, bringing to mind the crisp soaring quality of Lacuna Coil, especially with Caraffa’s often haunting vocals which slot somewhere between Lacuna Coil’s Cristina Scabbia and Evanescence’s Amy Lee, although it would be fair to say that Luana isn’t as strong as either. However, her more laid back tones suit this style of haunting melody more.

Album opener ‘All Is Vanity’ is a bright and breezy pop-tinged affair, and Caraffa and Macchi have proven to be potent songwriters, showing a maturity that has enabled this band to become one of Italy’s hottest talents. ‘Karma Warrior’, for instance, showcases not only the clever storytelling lyrics but the talents of pianist Valentina De Iullis. For the most part Belladonna are relatively upbeat, almost serene in their quest to bridge the gap between pop and rock, but there’s always a darkly clad spectre of sound lurking in the distance.

‘Abduction’ isn’t too far away from the melancholic strains of Annie Lennox (Eurythmics), especially in that calming vocal, the track only let down by the rather irritating technological sprinkles. Whereas ‘If I Was God’ is simply an acoustic ballad, that never raises its voice above a whisper.

Thankfully, the band boosts up the mid-section with the rollicking ‘Ishtar Blues’ which sounds as if it’s been dragged from the 1980s with that killer riff and galloping Mattia Mari drum, and strangely, as the delicate keys sweep in, I’m reminded of the noir joys of Faith No More. ‘Ishtar Blues’ is easily the best track on the album, mainly due to the fact it combines sombre reflection with rock so well, but if anything Luana Caraffa’s voice needs to step up a level, her dulcet tones never once justifying being the presence of that driving guitar… but it’s still a fantastic little rocker.

Elsewhere, Belladonna treats us to the dramatics of ‘Wonderlust’, a dreamy, goth-laced affair where Caraffa really shines with that exotic sounding vocal. ‘In My Demon’s Name’ ups the ante once again, beginning life as an eerie tip-toe before approaching with a menacing guitar chug, as Caraffa finally adds a hint of gravel to the voice, accompanied by that constant creeping piano tinkle.

The last quarter of the album comes in fits and starts. ‘Aura Blues’ is mesmerising with that booming drum, suddenly evoking images of a David Lynch movie. It’s a truly sexy film noir type soundtrack with the smoky vocals and guitar twang. Whereas ‘Primal Dream’ is eerier still; it floats into the ears like some surreal soundscape, as again guitar and piano court.

‘Multiverse Love’ extends the unpredictability of the opus; it creeps into the system with menace and once again builds into drama, before we are treated to the album closer ‘I Set My Controls To Overdrive’, a straight up rocker that takes its time to build.

Belladonna are far from being a heavy metal band, and for the most part can be described as hard rock, best suited to a candle-lit night of burlesque, but they should appeal to anyone with interests ranging from Siouxsie And The Banshees to Nine Inch Nails, and from Marilyn Manson to other goth-tinged modern rock.

Neil Arnold

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