In 2019, three musicians from deathrock and hardcore bands came together to form a new project that sounded nothing like their predecessors. The band, Nuovo Testamento—Chelsey Crowley (vocals), Giacomo Zatti (drums), and Andrea Mantione (synth)—released their debut EP, a coldwave-influenced collection that paired mechanical percussion with ethereal vocals. But their sound truly began to take shape on their first album, New Earth, which blended the ecstatic synth riffs of Italo disco with a touch of darkwave. The album featured an undeniable earworm called “The Searcher” that established the trio as a band to obsess over.
It was their second album, Love Lines, that truly skyrocketed their reach. One of the great joys of 2023 was witnessing the explosion of Nuovo Testamento—and experiencing their energetic live show at Florida’s Absolution Fest. Love Lines, eight tracks of unrelenting ’80s joy, draws upon some of the less co-opted sounds of the era, from the steel drum beats of Miami Sound Machine to the radiant hooks of early Madonna.
Now, in a full-circle moment, Nuovo Testamento is set to release their second EP. Trouble, arriving July 25, finds the band further exploring the sound that made them breakout stars in the dark scene, while continuing to gain new fans well beyond it.
I reached out to Nuovo Testamento to talk about Trouble, their evolving sound, their diverse audience, and what comes next.
Your new EP is called Trouble. Why that title? What kinds of themes or moods are you exploring across these songs?
Our previous records were more consumed with the idea of survival, whereas this one comes from higher ground. It asks a lot of questions and that’s always trouble (usually the good kind). It’s playful, pushing back on expectations and is respectful of the internal chaos we feel sometimes, and even how that can translate into external chaos. The EP also explores the idea of being a naturally obedient or well-behaved person, and what it takes to listen to that internal, dissenting voice. It plays with change, obstacles, pleasure, fun. It’s many small earthquakes.
The video for your new song “Dream On” shows a more casual side of the band—hanging out, playing games, rehearsing. What made you want to capture that behind-the-scenes vibe? And also… what can you tell us about that amazing loft?
The loft is the Downtown LA home of our incredible gaffer on the last two videos, Anthony Ferrara, so it was actually a really fun day. “Dream On” has a bit of a different vibe than some of our other songs—it’s reflective and dreamy and particularly vulnerable. While we always show up as totally ourselves when we’re performing, it felt right to be vulnerable in the video in a more tangible way. This became increasingly clear as the process went on so, thankfully, our wonderful director, Alfredo Lopez, had the foresight to capture all of that footage.
A lot of the synthpop bands I cover lean heavily on the usual suspects—Depeche Mode, New Order, OMD. But your sound feels rooted in a different part of the ’80s. I hear Jellybean Benitez, Miami Sound Machine, Lisa Lisa & Cult Jam. Do you think those kinds of influences get overlooked in modern synthpop? Is that part of what draws you to them?
Exactly. For example, much of the incredible music categorized as Italo Disco these days is really more accurately pop-that-didn’t-break-through. That’s one of our favorite genres and the real heart of the music we’ve always made. We obviously love the bands you listed, as well as current synthpop, but that period is so rich! It’s arguably when the most fun was being had in modern music—there’s a lot that remains to be properly celebrated, and a lot to play with.
I hear elements of house music on the new EP—especially in “On the Edge,” which has that unmistakable Korg M1-style bassline we all know from Robin S’s “Show Me Love.” Was that sound a conscious reference? Is house a direction you’re interested in exploring more?
It was a conscious reference but not a specific direction. We were inspired by what was happening more broadly in the late ’80s and early ’90s, so you’ll hear the M1 and the 909, but it’s a mix of styles that builds on the sound we’ve already established. In the end, it’s all just pop music.
I’m curious what a Nuovo Testamento ballad might sound like. Have you ever considered slowing things down, or do you want to stay in that uptempo, dancefloor-ready range?
Ask us again on July 25th!
You’ve been warmly embraced by the goth and darkwave community—even as your music gets brighter and poppier. Does that surprise you? Who do you feel like you’re making music for?
No! We come from punk and goth and hardcore. I’d like to think that’s still evident in our live shows and in our music, no matter how much fun we have exploring pop music. And we see that in the audience. It’s amazing that our crowd is super diverse and, when new people are showing up but the audience is still full of metalheads and goths and the like, that is the most important thing for us because those are the people that have gotten us here. Our love for them runs deep because we’ve only ever made music for ourselves and they’ve always seen us and embraced us for that, never asked us to define ourselves. If you understand communities like goth and darkwave as devoted to authenticity and expression, rather than purity, then I don’t think there’s anything surprising about it.
I can’t help but wonder just how big this project could become. In 1984, Dick Clark famously asked Madonna, “What are your dreams?” So now I’ll ask you the same: What are your dreams for Nuovo Testamento?
There’s only one correct way to answer a question asked of Madonna, and that is as she did: “To rule the world.”
