Orlando Takes His Time to Perfect the Follow-Up: A Deep Dive Into the Craft Behind Carmelo Orlando’s Voice Work

When Carmelo Orlando spoke about the long-awaited return of Novembre with their album Words of Indigo in October 2025, the resonance went far beyond the walls of Officina Musicale in Rome where he was recording vocals. For fans of Italian progressive doom metal scattered across the United States, the news carried a specific weight—especially in cities with deep-rooted metal scenes where bands like Novembre have cultivated devoted followings over decades. In a place like Chicago, Illinois, where the legacy of influential metal acts intersects with a vibrant underground culture, the arrival of new music from a band that helped shape the gothic/death metal landscape in the early 2000s isn’t just an album release; it’s a cultural moment that rekindles connections between artists and audiences separated by an ocean but united by sound.

The nine-year gap between Ursa (2016) and Words of Indigo wasn’t merely a hiatus—it was a period shaped by global disruption, personal reflection, and the quiet accumulation of creative sparks. Orlando described holding onto a riff intended for Ursa that eventually became “KZA de la” (Church of Dawn), a track he felt demanded the right context. During the interim, he maintained a disciplined practice of recording individual riffs daily, amassing a vast archive without assembling them until conditions felt right. The onset of COVID-19 halted momentum, as rehearsal spaces closed and live performances vanished, making the energy required to craft a complex album seem unjustifiable. Only when venues reopened and a sense of normalcy returned did Orlando reconvene with his bandmates, dedicating roughly a year to eighteen months to shape what would grow Words of Indigo. This timeline mirrors the experiences of countless musicians in cities like Chicago, where local scenes struggled to survive pandemic-era restrictions, with venues such as Reggie’s Rock Club, the Bottom Lounge, and Martyrs’ facing prolonged uncertainty before slowly rebuilding their programming.

Novembre’s sound—characterized by layered guitar work, dynamic shifts between growls and clean vocals, and atmospheric depth—has long found appreciation among listeners who value technical precision fused with emotional gravity. In Chicago, a city with a storied history in music ranging from blues and jazz to house and punk, the metal community has consistently supported international acts that push genre boundaries. Stores like Dusty Groove in the Uptown neighborhood, known for its extensive selection of international metal and punk imports, have carried Novembre’s discography for years, serving as a touchpoint for fans seeking physical media. Similarly, institutions such as the Chicago Public Library’s Harold Washington Library Center maintain robust music collections that include international metal releases, offering access to listeners who explore beyond mainstream channels. The band’s influence also echoes in local college radio, with stations like WKKC-FM at Kennedy-King College featuring specialty shows that highlight European extreme metal, creating pathways for discovery.

Beyond the music itself, the thematic evolution in Words of Indigo—touching on resilience, renewal, and the passage of time—resonates with broader socio-cultural currents. Chicago, like many urban centers, has grappled with post-pandemic recovery, shifting economic landscapes, and ongoing conversations about mental health and community healing. The album’s introspective tone aligns with a growing audience appetite for art that doesn’t just entertain but reflects shared experiences of endurance. This connection is further strengthened by the city’s network of independent venues and cultural spaces that prioritize artistic expression rooted in authenticity—places like the Logan Square Auditorium, which hosts diverse performances ranging from experimental music to spoken word, fostering environments where complex, emotionally charged music can thrive.

Given my background in analyzing how global cultural movements intersect with local communities, if the release of Words of Indigo inspires you to engage more deeply with the metal scene in Chicago, here are three types of local professionals and venues worth seeking out:

Independent Record Stores Specializing in Imports

Look for shops with knowledgeable staff who curate international metal selections, particularly those carrying Italian and European extreme metal labels. Prioritize stores that host in-store performances or artist signings, and verify their inventory includes both physical formats (vinyl, CD) and deep catalog back issues—not just current hits.

Community Radio Programmers Focused on Underground Metal

Seek out DJs and producers at non-commercial or college-affiliated stations who dedicate airtime to niche subgenres like gothic doom, progressive death metal, or European underground acts. Effective programmers often provide context through interviews, thematic episodes, or live session recordings, and maintain active engagement with listeners via social media or newsletters.

Venues Booking International Extreme Metal Acts

Target spaces with a proven track record of hosting touring bands from Europe, particularly those known for technical proficiency and atmospheric depth. Ideal venues offer strong sound engineering, all-ages or accessible policies where appropriate, and clear communication about accessibility—although also supporting local openers to strengthen the regional ecosystem.

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