This is probably one of the strangest reviews I’ve ever had to write for an album, due to the unique circumstances surrounding it. 2022 marks twenty years since the release of Lacuna Coil’s mighty Comalies, and to celebrate the occasion they’ve released an anniversary edition of the record, Comalies XX. We’re all used to anniversary releases of albums by now, which can go one of two ways. They’re either just a quick, soulless remaster thrown onto shelves to make quick buck, or are meticulously, carefully considered into a neat package that celebrates the legacy of the original. Comalies XX very much falls into the latter, but also goes the extra mile in a way no one could’ve seen coming.

Not only have Lacuna Coil given us remastered versions of all the tracks, they’ve also gone and re-recorded the entirety of Comalies from the ground up. What we have here is a complete reimagining of the 2002 album which has been updated in their modern, much heavier style. Doing this feels like a pretty ballsy move for a couple of reasons. First off, the band had the mammoth task of completely rewiring their brains to songs they’d become akin to for two decades. Secondly, this is Comalies, considered to be Lacuna Coil’s breakthrough record and arguably their most iconic. Whatever the Italian ensemble attempted, this would have a lot to live up to in the transition.

The band’s twenty years of growth and evolution as musicians can be felt from the moment “Swamped XX” kicks in. There’s undeniably much more of a confidence here and top-notch production values that give the overall sound a mightier impact as a result. The heavier tones add a real crunch to the proceedings, alongside Andrea Ferro’s aggressive, guttural vocals. Additionally, the orchestral arrangements have been amplified , adding to the grandiose effect – all of these being themes that are carried throughout the reimagining of this record. Meanwhile “Heaven’s a Lie” takes on a much darker atmosphere thanks to a slower tempo and dramatic string arrangements. At times it takes on a ballad-like form that comes across as intimate, which is contrasted by the explosive chorus section. The vocal arrangements in this segment do feel a bit odd, although that could be because the original is so ingrained into my mind, plus Ferro’s visceral approach is an effective contrast to Cristina Scabbia’s angelic vocals.

“Daylight Dancer XX” is one of the tracks to strongly benefit from the makeover treatment. Whilst I do miss some of the synth tones of the 2002 version, the Gothic, almost doom metal-like form that the song has been transformed into is truly majestic. It feels like its been put through the grinder and generates a macabre atmosphere. On the other hand, “Humane XX” doesn’t resonate as strongly without the europop inspired synth tones and feels a little bit generic. This omission is understandable, as it would be perhaps be less suited to this newer style, but I wish they could’ve been a bit more creative. The vocal delivery of both singers cannot be understated here, however, because their performance is stunning and they clearly give it their all.

Whilst the introduction to “Self Deception XX” is less haunting, the way in which the riffs have been presented is much more inventive than the chugging motif of the original. Its perhaps a bit simplified but merges the refrains in subtle ways, giving the track a nice flow. The chorus section is definitely stronger, with Crisitina Scabbia belting out her vocals with all the power her lungs can muster. Then “Aeon XX” completely drops the mellow acoustic style in favour of a more ethereal otherworldly tone. There’s an ominous ambience, some of which is directly ripped from the classic track, and Cristina’s layered vocals are stylised to be that of a choral hymn. Its almost unrecognisable, but is utterly captivating.

(…)instead of seeing this as a replacement, its more of a companion piece – a what if scenario.

Sadly, this doesn’t bleed directly into “Tight Rope XX”, which begins to striking piano keys as the chilling ambience of the original echoes in the background. This explodes into high gear with a mighty force that feels like a wall of sound. This is one of the tracks that seems closer to the 2002 incarnation, albeit in a much grittier form. Although the theatrics have been upped and at times it carries an almost melancholic feel. “The Ghost Woman and the Hunter” is one of my all-time favourite Lacuna Coil tracks, so I awaited “The Ghost Woman and the Hunter XX” with baited breath. Sadly this rendition loses the tragic Gothic atmosphere, but is still breathtaking in its own way. For a start, Crisitina is a powerhouse on this song and adds to emotional weight of the lyrics. Additionally, a guitar solo section that’s been added is pretty slick and acts as a nice curveball. Although if I had to pick from the two, I’d still go with the Comalies version.

As for “Unspoken XX”, the heavier, more dramatic approach genuinely feels like the perfect fit. Where it was previously delicate in style, the song has evolved into a much harsher beast. This one is packed with bulky basslines, chugging guitars and Ferro has a stronger presence on vocals. There are still harmonious moments, particularly from Cristina, but it ultimately has had a boost in terms of mournful atmosphere. Considering the themes within the track, this is well suited. On first listen it would be easy to assume that “Entwined XX” is a completely different song. However, in terms of structure, it’s surprisingly close to what was originally recorded for Comalies. Even though its structurally very similar, the soundscape has a much grander aesthetic, laden with booming moments of impassioned riffage in combination with sweeping orchestral arrangements. Its beautifully reflective in tone and has a real emotional weight to it.

“The Prophet Said XX” has a sprinkling of heavier metal elements with hammering double kick drumbeats and massive riffs. They’ve somehow shaven almost a minute off the original runtime, although the tempo is much higher, with the band focusing on the strengths of the 2002 rendition and turning those up to eleven here. This makes the song pack a real punch, being a blend of breathtaking moments of harmony and a wall of epic sound. The intro to “Angel’s Punishment XX” is brought in to sinister ambience that captures the essence of the iconic track, to playback of news broadcasts (also referencing the covid pandemic.) This is another track that feels more faithful to the original whilst also managing to deliver on this fresh perspective. The harsher tone carries much more of an impact and the song has a stronger sense of urgency to it. Closing off the record is title track “Comalies XX”. This rendition has much creepier moments, the acoustic elements replaced by the notes of a music box. Naturally, this is nowhere near as soft as the original and makes for an explosive finale. I couldn’t help but notice the presentation of the song shares a lot of DNA with the title track of their previous LP “Black Anima” and ties these different worlds together brilliantly.

So, is Comalies XX better than Comalies? In all honesty, that feels like the wrong question to be asking, because I don’t think that was Lacuna Coil’s intent. Ultimately Comalies is simply too iconic and memorable to ever be replaced and I think the band understand that too. So instead of seeing this as a replacement, its more of a companion piece – a what if scenario. Its as if a Lacuna Coil from an alternate universe had only just got round to recording the album at this stage in their career and handed it over to the Lacuna Coil of ours, nailing the execution in the process. Now I’ll give credit where credit’s due, as I feel a few of the new renditions of these songs do actually outclass some of the older ones. Although as a complete package, it can’t top the magic and nostalgia of listening to the 2002 record for the very first time.

This delivers a fresh perspective of a classic without sullying the original, and they’ve set a new precedent for anniversary celebrations of albums.

Just as Lacuna Coil have had to reinvent a classic, we too as listeners have to rewire our brains for this one. Comalies XX works fantastically as a companion but definitely needs to be approached with an open mind. That being said, it raises some interesting questions and scenarios. Listeners are bound resonate with this in various ways, some preferring different tracks to others. It’ll be fascinating to see how fans piece their favourite new renditions together alongside the originals, into hybrids that they consider the best of both worlds. Additionally, I’m intrigued how Lacuna Coil will proceed with setlists for their live shows going forward. Will they favour the classics or go with XX versions of songs? Some might argue that the band’s efforts would’ve been better spent writing fresh material. Those people need to stop being so negative, plus its Lacuna Coil’s music and they have the right to do whatever they like with it. This delivers a fresh perspective of a classic without sullying the original, and they’ve set a new precedent for anniversary celebrations of albums.

Final Verdict: Lacuna Coil have nailed the execution on Comalies XX, being a brilliant reimagining of a classic in their modern, much heavier style. It doesn’t top the legacy of the original, but works wonderfully as a companion piece that should be approached with an open mind.