Hello Black Noon — thank you for speaking with Progressive Rock Journal about your debut EP “Dead Man” (released 29 August 2025). You formed in Bologna in 2024 and in a short time have produced a concentrated statement of Heavy Rock with clear Stoner and Doom inflections. We’d like to explore the creative process behind the EP, the band’s influences and ambitions, and what comes next. Let’s begin.
Can you briefly introduce Black Noon for PRJ readers — who you are, how you met, and the musical vision that brought you together in 2024?
AL: “Since 2022, I have been working on new musical material after my previous band, Laino & Broken Seeds, stopped. My intention was to form a new band with a heavier sound. I started writing riffs and songs, and the band began to come together when I started rehearsing with Michele on drums. We started laying down groove metal and stoner-doom pieces that developed quickly. For about a year, the band consisted only of guitar and drums. Then, we decided to record our music and look for a bassist.“
“Dead Man” is the band’s first official release. What was the central idea or emotional starting point for this EP, and why did you choose these five songs to represent Black Noon’s debut?
AL: The lyrics of the songs differ greatly from one another. For example, “Dead Man” is a song about human behavior: self-destructive and out of touch with nature and the animal kingdom. “Drops of Rain” is more visionary, inspired by dreamlike images, Mad Max, and Lovecraft. “Howling with the Wolfpack” is connected to the horror movies that inspired me to find the name for this new band. “Out of the Dirt” was written during a difficult time this year when my father passed away. The song is permeated by the loss and pain I experienced. I owe him a lot when it comes to music. I had a
hard time seeing him go.
Your sound sits at the crossroads of Heavy Rock, Stoner and Doom. Which artists, albums or scenes have most directly shaped your approach to riffing, atmosphere and songwriting?
AL. Basically band such as The Obsessed, Clutch, Tankzilla, Nebula and Tool are our inspiration.
Walk us through your songwriting process: does a riff, a lyrical line or a rhythmic idea usually come first? How do you develop sketches into full arrangements?
AL: Usually, a guitar riff comes first. Then, we try to get the groove going with the band. That’s where the song develops with new ideas or is completed. Last are the lyrics.
The title track opens the EP with a strong sonic identity. Can you tell us about the genesis of “Dead Man” — its lyrical themes and the arrangement choices you made?
AL: The song started with just a couple of heavy guitar riffs, and then it developed into a full song in the rehearsal room. Michele brought some ideas on drums and on the arrangement, which stimulated me to make some ideas to grow.
Several tracks on the record feature changes of tempo and dynamic contrast. How intentional are those shifts during composition, and what do you hope they achieve emotionally for the listener?
AL: The changing meters are deeply connected with the riff. This has been the case since the beginning. Playing it during rehearsal made us wonder what the meter was to fully understand it. We think the tempo and meter changes are a way to see things differently and make them more interesting. Some bands that we use as references do this, from Black Sabbath to Wino, and we think it’s part of the genre’s musical language.“
Production on the EP favors a raw, immediate sound. What were your production goals in the studio, and who did you work with to capture that tone?
AL: “We worked on the record in separate sessions. First, I sent my guitar and vocal tracks to Michele. Last came the bass guitar. Sometimes the vocals were re-recorded. Then, we sent everything to DiCofone, a sound engineer who mixed and mastered the album. He’s a sound wizard, and I knew he would capture the band’s sound identity and deliver the final product perfectly.
How did you approach the guitar tones and bass lines on the record? Any specific pedals, amps or recording techniques you relied on to get that fuzz and weight?
AL: I tune my guitar down a whole step. Sometimes I use drop D tuning. I don’t have many pedals. I just use a booster, an overdrive, and a fuzz pedal. I also use a modulation pedal when needed and a couple of delays. I tend to use the sound of the amp — an old Marshall — and draw the saturation from it. For recording, we kept it simple: two mics for the guitar and a limited number of mics for the drums. The bass was recorded at Antonio’s house. He did a great job of keeping the guitar and drums together and giving the right punch to his sound.
Vocally the EP moves between mystical phrasing and more aggressive delivery. How do you approach vocal performance and lyric-writing as a band — personal storytelling, imagery or something else?
AL: Sometimes, the lyrics come from a clear idea from the beginning, as is the case with “Out of the Dirt.” Other times, the lyrics come verse by verse. I work alone on the lyrics, making corrections as I go. As I mentioned before, my inspiration comes from different sources: existential themes, dreamlike visions, and stories connected with supernatural themes. I’ve been a fan of Lovecraft and sci-fi since I was a kid.
“Out of the Dirt” shifts toward a Rock & Roll cadence while remaining Heavy. Was that stylistic variety planned from the beginning, and how important is versatility to Black Noon’s identity?
AL: “We test a lot of ideas. I write a lot, and then many of them are discarded. However, we remain open to possibilities while playing. The songs may differ from each other, but the band’s signature sound must remain consistent.“
The closing track is a single version of the title song. Why include two versions of the same song on the EP, and what does the single version reveal that the original doesn’t?
AL: The song “Dead Man” was chosen as the single, but it has a long introduction. I decided to add samples from old black-and-white movies at the beginning. DiCofone processed those during the mixing process. I thought the version with the long intro could be a good single. However, we preferred to keep it raw and direct for the opening track of the EP, so we cut out the intro.
Live performance is crucial for this material. What are your plans for playing these songs live, and how do you expect the EP to translate on stage?
AL: Of course! I have a clear vision for the Black Noon stage show. I don’t want to spoil it! Come to our concerts and experience it for yourself! We hope to announce our live shows soon.
Where does Black Noon sit within the current Italian and European Heavy underground — do you see yourselves as part of a local scene, or deliberately outside of it?
AL: We feel that we belong in the stoner-doom, heavy psych scene. Only time will tell who will gather around our project.
Looking beyond the EP: what ambitions do you have for Black Noon in 2026 and beyond — a full-length album, touring, collaborations, or experiments with different production approaches?
AL: We plan to perform live and release a full album as soon as the timing is right. It could be next year or later.
Finally, for readers discovering you for the first time: what three records (or artists) would you recommend to understand the roots of Black Noon’s sound, and why those picks?
AL: I would choose The Church Within by The Obsessed, Book of Bad Decisions by Clutch, and Time Travelling Blues by Orange Goblin. These are the sound and storytelling we are seeking. In the end, something different emerges, and that’s the beauty of the game!
Thank you — we really appreciate you taking the time to share these insights. Before we finish, is there anything you’d like to add for PRJ readers: upcoming dates, special guests, releases, or a message to your fans?
AL: Thank you! It was really fun answering those questions. To the readers, I say: Keep reading PRJ because it’s a great blog! Support underground bands like us! Cheers!
Purchase “Dead Man” EP on Bandcamp: https://blacknoon.bandcamp.com/album/dead-man-ep
Read our Review of “Dead Man” Ep here: [Review] Black Noon – Dead Man EP