Review by HanSathanas on July 15, 2026.

Anything Lacuna Coil released after "Delirium" failed to capture my attention, if it managed to at all. That is, until "Black Anima" arrived. I wasn't expecting much. For all I knew, it could have been "Delirium 2.0". I have to admit, though—I was wrong. "Black Anima" is something else entirely. Very little from the band's previous two albums carries over here. Those old days may be long gone, but it feels as though Lacuna Coil have been reborn with a newfound identity.

Before discussing the music, a quick word about the band's new image. It's rather odd that they chose to cover their faces with makeup reminiscent of early Mudvayne. Perhaps the new identity I mentioned is really an identity crisis. Of course, it's a gimmick—but what else is new? Interestingly, this visual makeover is accompanied by a noticeably angrier musical direction. Despite opening the album with a monologue that sounds a little silly to my ears, with Cristina Scabbia repeatedly whispering "Anima Nera" in an almost childlike voice, the introduction soon gives way to the real substance that defines the entire record.

'Sword of Anger' opens with surprising intensity, even by Lacuna Coil standards. Andrea Ferro delivers what is arguably the most vicious growling performance of his career. At first, I honestly wondered whether he had damaged his vocal cords because his voice sounded so raw and torn apart. It completely caught me off guard. While he had experimented with harsher vocals on the previous two albums, here he finally seems to have discovered what works best for him. Better yet, his performance remains consistently strong throughout the album. Studio enhancement undoubtedly plays a part, but at least his vocals are no longer as distracting as they were on some previous releases.

Cristina Scabbia, meanwhile, shows no signs of slowing down. Like Ferro, she benefits from modern studio production, but watching her perform songs from this album during Live Apocalypse proves she still has remarkable vocal ability. At times, you can clearly see the effort required to hit the highest notes, particularly on my favorite tracks, 'Apocalypse' and 'Veneficium', but she still delivers. There are even videos online from the COVID era where the band performed these songs without an audience, and they demonstrate just how capable she remains as a vocalist.

The heart of this album lies in its guitar work, occasionally enhanced with electronic effects that amplify the overall heaviness. Unfortunately, the production gives the guitars a rather thin, metallic edge. Despite sounding heavy, they frequently blur together with the bass. As we all know, Lacuna Coil have long embraced Korn-inspired bass tones, and that lingering nu metal influence remains the one element I still struggle with ever since the "Karmacode" era. The overly polished production creates what I like to call "post-millennial guitar syndrome." The guitars form an enormous wall of sound, yet the excessive processing leaves everything feeling sterile and artificial rather than organic. I've noticed this trend on many modern metal releases since 2020, including Creed's latest album and Conquer Divide's recent single.

Fortunately, the songs themselves remain consistently enjoyable despite those production shortcomings. Another pleasant surprise is the abundance of memorable guitar solos, easily among the band's finest to date. 'Reckless' features beautifully layered harmonies, and once the lead guitar enters, it elevates the song's desperate atmosphere considerably. Around the 1:58 mark, Diego Cavalotti showcases an excellent melodic instinct with a tasteful arpeggio passage that briefly climbs and descends the fretboard. It's short but extremely effective. Recruiting Cavalotti was clearly the right decision, as he has injected fresh life into Lacuna Coil's riffing and lead work. Meanwhile, former guitarist Marco Coti-Zelati now focuses on bass, keyboards, and programming, handling those duties admirably.

The lead guitar work ultimately becomes the album's greatest strength. 'Apocalypse' and 'Veneficium' stand as the definitive highlights of "Black Anima" and perfectly represent the band's current direction. Not only are the riffs and rhythms memorable, but the solos genuinely surprised me. At first, I could hardly believe I was listening to Lacuna Coil. The solo beginning around the 2:42 mark of 'Apocalypse' is a perfect example. It builds gradually, creating an emotional sense of uplift that feels both triumphant and melancholic. The song patiently establishes its atmosphere through ethereal choral textures before rewarding the listener with one of the finest lead guitar moments in the band's entire catalogue.

Just when I thought 'Apocalypse' was the album's undisputed masterpiece, 'Veneficium' came along and hit me like a block of ice to the face. The solo here is even more melodic while following a similarly gradual build-up. It remains simple in execution but deeply mournful in character, adding another emotional layer to an already powerful composition.

Whether the band is embracing renewed aggression through tracks like 'Now or Never' and 'Under the Surface' or revisiting the melancholic atmosphere of the "Karmacode" era with 'Save Me', Lacuna Coil finally sounds inspired again. 'Save Me' is another standout, thanks largely to Cristina's captivating vocal melodies. Even the bonus disc contains worthwhile material, particularly 'Black Dried Hearts' and 'Through the Flames'. Songs such as 'The End Is All I Can See' and 'Black Feathers' also carry a convincing ritualistic atmosphere, something the band attempted on "Broken Crown Halo" but never fully achieved. The keyboards contribute nicely to this mystical ambience, although the production occasionally compresses everything a little too heavily.

New drummer Richard Meiz also proves to be an excellent addition. His energetic playing complements the band's heavier direction perfectly. His double bass work locks tightly with the chugging guitar rhythms, which can become surprisingly intricate, particularly on 'Layers of Time'. His fills are equally solid. Unfortunately, the production once again lets him down, as the triggered drums sound somewhat plastic and artificial. The cymbals also sit unusually low in the mix.

Overall, "Black Anima" is a genuinely pleasant surprise. It feels as though Lacuna Coil has finally redeemed themselves after the misguided experimentation of their previous releases, which left many longtime fans disappointed. They may not be reinventing the wheel, but they have rediscovered what makes their music enjoyable. For me, that's enough to undergo rebaptism with Cristina Scabbia's vaginal secretion and become a born-again fan one last time.

If you're completely new to Lacuna Coil, "Black Anima" is actually an excellent place to start. Depending on your tastes, you can then work backward through their catalogue to the debut and continue up to "Broken Crown Halo". Just avoid "Shallow Life" and "Delirium"—those two are used tampons.

If possible, pick up the special two-disc edition, as the bonus material is genuinely worthwhile. This is an album best experienced on a rainy afternoon drifting into the early evening, when the daylight is fading, and the mist begins to settle outside. My favorite tracks remain 'Apocalypse' and 'Veneficium', although the overall quality is consistently high. Lyrically, the album focuses on despair, inner conflict, existential struggles, self-discovery, and fear. Just don't expect profound philosophy—you won't find that here.

Rating: 8.3 out of 10

Review by Adam M on October 17, 2019.

Lacuna Coil get dark on their new album Black Anima.  There are some similarities to previous works in this regard, but the band gets even more dark on this album and it helps them achieve their goal of bringing very atmospheric music to the forefront.  The songs are fairly simple and alternate between female and male vocals. The vocals of Cristina Scabbia in particular are very strong and give the songs an alternative edge that makes them more compelling. 

Sure this album is somewhat on the light side for a metal album at times, but there is no doubt that the roughness is there to qualify it as a heavy metal work.  The songs have some electronic elements that make them more interesting, but they stick to a pretty standard style that is catchy and accessible.  Comparing them to other female acts is favorable because this is slightly better than the new Within Temptation.  The music has more character and style than Resist and is more atmospheric.  There are certainly some heavier moments on the disc too, which make it more metal and more imapactful.  At all times, the song-writing is quite effective and interesting making every note of the album very useful.  This isn’t the best female-fronted release I’ve ever heard, but does a good job filling in the space for such a release this year.  Despite it having an atmospheric and unique aspect, there is the feeling that the music is overly accessible and this brings it down a notch. 

Still, this is really effective music featuring a female singer and should be heard by all.  It simply has the moody nature that is necessary for the genre and brings out the best in the band.  I look forward to more releases from the band and hope they become even more progressive than they are here.  This is still a recommended release.

Rating: 7.6 out of 10