From the heart of Roma, Italy, Nicola Giacobbe delivers a captivating instrumental journey with his album “Tutti in attesa.” A project decades in the making, it gathers ideas recorded between 2003 and 2017, shaped by his love for classical literature, art, and a wide spectrum of genres from thrash metal and post-rock to ambient and psychedelic rock. The result is less a collection of songs and more a personal diary—raw, intimate, yet deeply evocative.
The opening track, “Prima del nulla” translates to “Before Nothingness,” and it feels exactly as the title suggests—a meditation on beginnings, or perhaps the moments just before creation itself. Slow, almost hesitant textures bleed into one another, conjuring the sensation of standing at the edge of a void. Giacobbe’s layering creates both intimacy and cosmic expanse, preparing the listener for the journey ahead.
“Non cadranno foglie stasera” (No Leaves Will Fall Tonight) introduces a fragile yet defiant stillness. There is a haunting beauty in the way melody tiptoes against a bed of atmospheric distortion, like nature holding its breath. It’s a piece that speaks to endurance—of moments, of people, of memories that refuse to fade.
“Notte stellata sul rodano” (Starry Night on the Rhône) draws its title from Van Gogh’s celebrated painting, and Giacobbe channels the same swirling emotional turbulence in sound. The instrumentation mimics brushstrokes: luminous, restless, alive. One hears echoes of post-rock’s grandeur mixed with the melancholy weight of doom influences, rendering a track that feels both dreamlike and unrelenting.
“Mandir” carries a meditative quality, invoking the sacred. With ambient undertones and subtle progression, Mandir feels like walking into a temple built not of stone but of sound. Giacobbe allows the piece to breathe, creating space for reflection and quiet awe.
“Incontro sul ponte” (Meeting on the Bridge) is one of the album’s more narrative-driven pieces. Its structure suggests conversation—two motifs, distinct yet intertwined, exchanging ideas across an invisible expanse. The pacing rises and falls, echoing the delicate tension of human connection.
The title track “Tutti in attesa” (All Waiting) distills the essence of the album into a patient, suspenseful meditation. It is less about answers and more about lingering in the questions. The composition is layered with longing, its instrumentation threading together hope, anxiety, and inevitability in equal measure.
“Al manicomio” (At the Asylum) descends into more chaotic territory. Here, Giacobbe leans into his metal influences, infusing dissonance and jagged rhythms that unsettle and provoke. Yet, within the madness, there is a strange coherence—an unspoken commentary on the fine line between brilliance and instability.
“La collina” (The Hill) closes the album with a sense of ascension. Gentle yet firm, it feels like climbing a slope toward clarity or resolution. The textures grow lighter, suggesting not an ending, but a vantage point: looking back at the journey, weary yet fulfilled.
Though recorded at home, the production is remarkably detailed. Layers of guitars, atmospheric effects, and restrained arrangements create a textured landscape that feels cinematic. Giacobbe’s delivery is deliberate and vulnerable, blending precision with emotion, proving that true artistry does not depend on polish but on honesty.
With Tutti in attesa, Nicola Giacobbe establishes himself as a striking new voice, transforming fragments of his past into a timeless work of instrumental storytelling. His music is an invitation to pause, reflect, and wander—one that lingers long after the final note.
Listen to the “Tutti in Attesa” on Spotify
