Cristiano Migliore (Lacuna Coil) Interview

by Steven Rosen

If the name Lacuna Coil translates from Italian to English as "empty spiral", the moniker applies to both the music this Italian sextet conjures and the circumstance of this interview. Cristiano Migliore, one of the band’s two guitarists, called promptly at 10 a.m. on August 23, 2006. He was upbeat and animated, ready to talk about Karmacode (Century Media Records), the group’s latest album, released in April, 2006.

Karmacode is music of the spheres, with airy and ambient elements tethered to the massive guitar work of Migliore and Marco "Maus" Biazzi. Over the top soars the voice of Cristina Scabbia while Andrea Ferro’s vocal lines serve as a stunning counterpart - the craziest and heaviest opera anyone has ever heard.

Imagine a mad M.C. Escher graphic as a piece of music with winding stairways wending their way into nothingness, tied together only by massive slabs of lofty, fiery melodies and grinding, pulsing guitar riffs – that is the empty spiral Lacuna Coil fills.

They’ve also filled concert halls and stadiums due to the power of their beautifully orchestrated musical elixir. Two years ago the group performed for crowds in excess of 60,000 alongside metal mainstays like Slayer and Judas Priest at the 2004 version of Ozzfest. There was a lot to talk about and Migliore loves to talk.

Fifteen minutes into the conversation, however, a glance down at the meters on my cassette recorder revealed no volume registering. The record button had not been pushed. An empty spiral. Hemming and hawing, embarrassed as hell, I stuttered an apology. But Cris is a pro and took it in stride. As we continued, with the record button depressed, he revealed the depth of his passion for the music he creates and how he goes about doing it.

Listen to two songs from Lacuna Coil's new CD, Karmacode.

"Closer"

"Our Truth"

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Now that we both know what an idiot I am, let's talk about how your tracks usually come together. When you’re in the studio, what is the process like?

Cristiano Migliore: Like 99% of the bands that record stuff in the studio, we always start with the rhythm section, drums, and bass guitar. Since we have a lot of keyboard parts and stuff, we usually play on a click like we also do when we play live. Since we delay the keyboard playing, we need to have a click so we can actually follow the keyboards without everybody going like on his own way.

Basically, the whole band sits there and we all play together. We just jam until we find that the part is good to be recorded. So, basically, Cris, the drummer, records his parts first. And then Marco, the bass player, records his bass guitar parts on top of that.

You find out, especially when you’re in the studio because you can hear everything very well, that some of the parts that you did maybe don’t work as well as you thought. So there is also the possibility that some of the ideas that we had previously, change when we’re recording the song. It doesn’t always happen, of course. But sometimes minor things like a kick drum that goes where the bass guitar is not playing or the accents are different, stuff like this. Little arrangements that you only notice when you can hear everything.

So, then we add the guitars and the keyboards and everything. And the last thing we record the vocals. I think that’s pretty much the same way that everybody else does it, unless you’re really good. Like probably Dream Theater don’t do that! They all go in the same room and they record everything the first time! It’s not our case, unfortunately.

Will you put down your guitar tracks before Maus?

CM: It really depends on what the part is. There are parts that I can play better than he can, and the other way around. There are parts that he can actually play much better than I can. So we’re usually very easy to decide. Sometimes I play the chords, sometimes he does. Since we don’t have a lot of solos, there is no guitar player that is like, “Oh, I am the solo player,” or, “I’m the rhythm guitar.” We switch parts like almost constantly.

It really depends on who can play the part better and who can give it the right feeling and all this kind of stuff. So it changes constantly from song to song.

For example, on the song “What I See” [Karmacode], there is this beginning with these heavy guitar parts that starts the song. We both tried to play that and then since I was the one who could play it better, I recorded it. Or there are some other parts where they need more like technical soloing kind of parts, where he can actually go and play much better than I can. You know, it’s very easy. We just take a look at each other like, “Okay, do you want to do it?” “Nah, you do it." Okay, no, I’m gonna do it.” “No, I wanna do it!” Stuff like that. So it’s quite funny actually because there’s the producer sitting there and he’s like, “Okay, who’s gonna record this? Make up your mind, guys and let’s go on with the recording.”

You mentioned that the band does not do a lot of guitar solos. Is that something the band consciously decided?

CM: It’s not really like we think that there shouldn’t be solos in our songs. But we only do it when we think that the solo fits that song. If you take a look at all our previous albums, there are probably only like four or five solos in four albums. So it really depends on how the song is and if we have the feeling that it needs a solo.

There were songs that we recorded in the past where originally there was supposed to be a solo there. But then when you have so many instruments going on – we have two vocals, we have two guitars, bass guitar, keyboard, strings and everything, sometimes there is really no room for an extra part that contains a solo. We only do it if we have the feeling that the song needs it. We always try to work everything around the song. So if the song actually has a part where a solo fits very well, then we’re gonna do it. Otherwise, we’re just like, “Okay, well, we’ll do it in some other song.”

On “Our Truth”, [Karmacode] that solo section really is just kind of a bass breakdown and the guitar is just kind of feeding back. Was something like that planned?

CM: Usually, it’s like we have pretty much a good idea of how the song will have to be. That part, we had it in our head before we even recorded it. It was like, “Okay, there’s gonna be this part where there’s gonna be percussion other than just the drums, and the bass guitar will be playing this riff that’s the main riff of the song.”

Or, “Hey, you know, the part is very nice like this, but then why don’t we try to, in the second half of this part, to add this feedback that comes fading in until we go back to this break and to the final chorus.” And we’re like, “Oh, yeah, why not?” It’s like, “Oh, why don’t we try to do that?” You have a general idea of what you want to do and then sometimes it just happens while you’re recording. You just try to put it on tape, or on a disk right now because everything’s digital, and then you see if it works out well.

It’s always a matter of how much time you can spend in the studio or in the rehearsal room before you go record. Usually, when we actually enter the studio, we know 99% of what we’re gonna do and what we’re gonna record. But sometimes there is space for improvising stuff, and that’s what happened with the middle part of “Our Truth”.

It’s a little detail – it’s only like a guitar feed-backing – but it’s something that gives it a nice touch. Otherwise, the whole part would be the same for like 16 bars or stuff like that.

With a song like “Devoted” [Karmacode], which is one of Cristina’s favorites, when you listen to the chorus section and those chord changes do you get a sense of a rock-pop throwback to like the classic days of Pink Floyd?

CM: We’re a band that tries to listen to any kind of music. We’re not just listening to metal or rock or stuff like that. We really like to listen to what other music makes the cut. We don’t really think about it when we write the song. It’s just like something that comes out and, as I’ve said, is a very, very natural way.

But for sure, all these bands we listen to, and that could be Pink Floyd or Dire Straits or Procol Harum, it’s all stuff that comes out and gives us ideas on what to do and how we can reach some parts. In a song like “Devoted,” that by the way is one of the first ones we wrote for Karmacode, it changed so many times. We had this chorus, and that’s the part that we like the most of the song. But the rest was kind of different.

We worked a lot to find the way to have the song the way it is right now. We really liked the chorus, but nobody really liked the rest. It was like, “Oh, you know, it doesn’t sound the way we want it to sound.” So we just sat down and tried different ideas. Everybody came up with different stuff until it actually became the song that is on the album. It’s good because this way at least you can see and you can hear what each member’s personal influences are. That was what happened with “Devoted.” I’m really happy it turned out this way because it’s one of my favorite songs too.

And “Fragile” [Karmacode]? It starts with these big guitars and some acoustics. How did you create that?

CM: We play ESP guitars; we use seven-string guitars. We’ve been using them for about five years or something like that. So we always liked the tone, the kind of big-bottom sound that you can actually get out of these guitars. So we always tried to work to have music that was as heavy as possible, with this kind of big sound, but as a counterpart for the melodic vocals that we have with Cristina and Andrea.

It’s funny, because if you listen to these songs without any vocals, most people who heard the really early versions of it without any vocals on it, they were like, “Oh, wow! Man, but are you sure you can use these with Lacuna Coil? This is really heavy! I don’t think it fits.” It was one of the first songs that we ever played live, even before we actually recorded the album. It’s one of our favorite songs. The whole album is like going into this kind of direction, even though people only think that since we have Cristina as a singer that the band is kind of pop-ish or very melodic, which is true sometimes.

We all have a really heavy metal background that we always need to put in our songs. As I say, using seven-string guitars actually adds a lot to achieving this goal. And also the sound that we try to find that we worked on in the studio was all pointing towards this kind of goal.

So we used Line 6 amps as well. We’re endorsed by Line 6. And we always tried to find the heaviest possible sound for each song. We tried to change sounds according to what kind of song we were recording. I’m really happy we could actually do this because with the success of Comalies, our previous album, we finally had a little bit more budget to spend when we were in the studio.

That gave us the possibility of working a lot more on the sound and on the arrangements and all this kind of stuff, which is something that we never had the chance to do before. They said, “Okay, you have three weeks. Go to the studio, record everything as fast as possible, and then you have one more week to mix.” And we were like, “Ooh.” It’s something that no band should be pushed to do.

Everybody should have the chance to spend at least two months in a studio because that’s the only way you can do exactly what you want to do, especially if you think about how things work in the studio nowadays. It really takes a lot of time to find the right sound for the drums, for the guitars, for everything.

Seeing what we could achieve with this new album, with the way it was recorded, with the production, we were like, “Wow!” We never want to go back to anything else now. It just has to be better and better.

You use an ESP seven-string - what model?

CM: Yes, we are using the LTD SC-607B. That’s one of the Stephen Carpenter from the Deftones signature models.

What is it about that guitar that you like?

CM: Basically, we actually tried a few different models. I tried Ibanez, the Universe model that Steve Vai uses. But I mean, I don’t really like the neck. When I tried the ESPs, for one, it’s a baritone guitar, so the neck scale is actually longer than a regular guitar so it gives it a little more low-end. It has EMG pickups. It just sounds good.

The first time I tried it, I was like, “Yes! This is what I want to play!” Sometimes it’s just a matter of how you feel playing with it. Definitely this guitar is what I like at this moment. We’ve been using them for like two years now. They’re great.

Before, we were using some custom-made guitars from a guy in Italy, but they don’t really work that well. One of them, for example, once the neck came off when I was changing the strings. So it was like, “Uh, maybe there’s something wrong here! We’ll probably have to wait for somebody a bit more professional.”

What about amps and effects?

CM: As I said before, we use Line 6 amps with Line 6 and Mesa Boogie cabinets. We’ve been using them since the year 2000 when we recorded our Halflife EP here in Italy. And we were totally in awe in front of this amp that could play so many different things at the same time.

I'm thinking, “Wow! It’s digital. It’s all computer stuff, but it sounds like an amp, like a real tube amp." We’ve been using it since then. We started with a Flextone, then the Flextone II, and now we’re using the HD147, which I think is great. It is basically so easy. You have everything there; you don’t need to add extra effects or anything weird that is like a huge rig, like most guitar players do. But then it’s always like a matter of taste.

For what we do, it’s just perfect – especially if you think that, when we play live, we don’t even use cabinets. We have them on stage; we use them as monitors, but we always use the direct outputs to go into the mixing deck. So it’s so easy. You don’t need mics. Mics will pick up everything else on stage. It’s just the easiest thing you can do for a live show, I think.

You mentioned trying to find the heaviest tones - have you ever gotten into the studio and had your sounds dialed in, only to find the sounds didn’t work for one reason or another?

CM: Yeah, that happens all the time. When you go and play in the rehearsal room you can’t really hear exactly what’s going on. If you have a certain kind of sound that works very well when you play live, it doesn’t mean that it will work very well when you record.

So we actually had to sit down and look for a very specific sound, according to what song we were recording. We spent a lot of time, and I’m glad we actually had more money to spend on the recordings because it really makes a lot of difference.

For example, in the past, when we recorded Comalies or the previous albums, we just found the basic sound that we would then use for every song. That’s not really the way to do it. It can work, depending on what kind of style you play. If you’re in a punk band, probably it doesn’t really matter. You just find a good sound and then you can use it for the rest of the album because you don’t have a lot of stuff going on at the same time.

But for music like we play, since there are a lot of things going on altogether, you have the risk that the guitar will just disappear among all these other instruments and sounds. So you really have to sit down and look for something that will stand out, but won’t be too much. That will be something that you’re really like, “Oh, this guitar sound doesn’t really fit to this,” or the other way around.

It really takes time, but it’s something that’s definitely worth doing because in the end, it really changes the whole sound, not just for the guitar, but also for the bass guitar.

For example, with a bass, we had a DI with a certain sound. Then we had an amp sound, and then we had a distorted sound that we added later with a small pedal effect. All three sounds combined together made the bass sound that you can listen to on the album. It’s the small tricks that you try and you see if they work and if you like them in the end.

What acoustic guitars did you use?

CM: We used an Ovation Elite model that we also had for when we did some in-stores and radio acoustic sessions when doing the tours for the Comalies album. It was the first time we ever recorded an acoustic thing on an album. We did some acoustic recordings before as bonus tracks, but this was the first time we ever used acoustic on the album itself.

It’s just the way I think everybody does. We had the direct sound from the guitar from the DI, and then we also used a microphone to record everything. It was actually harder than I thought because you really have to pay attention to a lot of things, like the position of the mic, the distance of the mic from the neck, and all this kind of stuff. It really took a long time. I’ll need to record a few little parts and it’s really a lot harder than playing electric guitar. That’s something that I found out. It’s like, “Oh, wow. If I don’t pick it a certain way or if my strokes are different in this part, then you have to redo the whole part." It was a nightmare, to be honest with you.

In “Within Me”, the ballad on Karmacode, you’re playing an acoustic guitar.

CM: That’s exactly the song I’m talking about. It took me ages to be able to record the whole song. When I started, it was like, “Oh, yeah, I’ll do it in like five minutes.” Yeah, right! I was there for like one hour or one-and-a-half hours, trying to play the part over and over again. And then one funny thing is that I thought, “I’m gonna put on heavy gauge strings so I’ll have like thick strings and stuff and it will sound bigger.”

Then I found out that after 20 times I was trying to play the part, these strings were killing my fingers! It was , “Oh, man! I wish I didn’t do this!” And then we finally changed the strings and we went to a lighter gauge. And I was thinking, “These actually sound better and it actually feels better when you play.” It’s always a matter of knowing how to do things and finding out what to do in what song. It’s really a crazy thing.

Many bands don’t use acoustics and don’t realize how hard it is.

CM: Since we got these guitars from Ovation, I’m playing a lot more acoustic than I’m playing electric. When I’m home, I don’t really turn on all my amps and stuff because my neighbors would kill me. So I’m constantly playing acoustic.

I really found out that it’s a lot harder than I thought. In the beginning I was like, “Oh, yeah. It’s just like electric but I don’t have an amp.” It’s not at all like that. The way you play, the way you pick, the parts you play on an acoustic guitar are completely different than electric.

What about the electric parts? Does it take a couple run-throughs to get the final track?

CM: Of course, whatever you can do to save time because when you’re in the studio, the more you stay there, the more you’ll pay. So you try to be as fast as possible. Sometimes it’s like, “Hey, I need to get done by twelve and it’s already ten o’clock, and I need to do all these things.” So sometimes there’s a bit of a rush, but we try as much as possible to record everything and to play everything.

So it’s not like we’re gonna cut and paste parts around the whole time. Of course, we do it. I mean, everybody does it. It’s not like a secret or, “I’m better than somebody else if I don’t do it.” The point is that you have to be able then to play live and that’s something that we can do with no problems.

But I mean, when you’re in the studio, it doesn’t really matter. If you see that it will take too long to go through the whole song and play the whole thing, then you’re just gonna be like, “Okay, I have this part that’s really good. I’m just gonna copy it and use it for the rest of the song.” But it’s not something that we do a lot. We always try to play as much as we can because we don’t want to get too lazy about it. In the end, we won’t be even able to play live anymore. Like, “Oh yes, we put everything on tape and whatever.” We’re not that kind of band. We like to play live.

Here’s something funny. We recorded a show during the Rob Zombie tour back in March. We recorded this show in St. Petersburg in Florida, and we actually went to mix it right before we came back [to Europe], like a couple of weeks ago. We were listening to this recording and we’re like saying, “Wow, is this really us?”

We didn’t correct any mistake or anything. We were just listening to the microphone sound of everything. It was like, “Man, we actually can play!” Because when you play, you don’t really have an idea of what you’re doing. Sometimes you think you fucked up, but then when you listen to yourself again, you’re like, “Oh, it’s not actually too bad.” Some things are actually very, very good. We can actually play.

What about a tune like Karmacode's “The Game”? Is that an example of de-tuned guitars?

CM: I always use the same tuning. We have a low B as the bottom string. Basically, the tuning is always the same. Like B, E, A, and so on. So we didn’t try to drop to any other kind of tuning because we didn’t think it was necessary. Besides, you have to be careful with that, especially for the singers. If you go too low or too high then they won’t be able to sing because it’s not in their vocal range. Especially having two singers, that’s even more complicated because maybe something will work out for Cristina even if you change tuning, or for Andrea or whatever, and then for the other one it won’t. It’s something that you have to be very careful with.

We never really had the feeling that it was necessary to do something like that. So for “The Game,” we basically had the song and we just recorded it the way we did with every other song on the album. It’s probably because of the parts that we created. With the seven-string guitars, the difference that I noticed the most is that we started playing a lot more one-string riffs rather than chords.

It almost sounds like a bass guitar kind of, but it’s still a guitar and there’s distortion on it. It has this very particular sound that most bands did before. Like if I think about bands like Carcass, they used to play in drop B as well, but with six-string guitars. That’s something that even when we had six strings and we were tuned to E we never really did because it didn’t really sound the way we wanted it.

You didn’t have seven strings for the very first albums?

CM: No, we started using seven-string guitars right before we recorded Comalies. So it was about four-and-a-half years ago.

Was finding the seven-string guitar like finding the missing piece to the band’s sound?

CM: Yeah, definitely. We’ve always been big fans of Meshuggah. They’ve always used seven-strings since the beginning. We were like, “Oh, wow! That would be really awesome if we could have this kind of sound, but adapt it to our kind of music.”

Before we started using seven-strings, I used to have, well, I still have, a Steinberger guitar, a six-string regular one. I couldn’t find any string that was bigger than the .046 or something like that, so I’m like, “All right. I’m not gonna do it.” So we basically always used the regular E tuning. As soon as we had the chance to work with seven-strings, that’s when we started doing new riffing and stuff. And especially since we got the ESPs that worked even better because Marco now has one, too. It helps a lot because it really changes things a lot compared to the six-strings, especially for our kind of music. I’m not saying that it would work for everybody, of course.

On “The Game,” it sounds like there’s a little bit of a Steve Vai feel in that solo section.

CM: I’m not totally sure; that solo was actually played by Maus. Of course, he’s a big fan. We’re both fans of Steve Vai. Who isn’t? That guy is just crazy. I just watched G3 Live in Tokyo and the stuff that he does, compared to Satriani or John Petrucci, is like, I’m much more interested in what he does than anything else because he has a vision of music that’s really not easy to find in other musicians.

But I don’t think that Maus really had this in mind when he wrote the stuff or the solo for “The Game.” He’s a lot more into stuff like fusion and jazz, modern jazz and stuff. So he was trying to give it that kind of feeling, even though it doesn’t sound like fusion that much.

He likes Alan Holdsworth, for example. Holdsworth’s one of his idols since forever. I can’t blame him because he’s just amazing with the stuff he does. It’s like awesome. He was trying to reproduce a little bit, not exactly of course, but this kind of style and sound. I think it sounds good, especially on the part that’s underneath the solo, because it has nothing to do with fusion or jazz in any way. He was able to fit it there with an interesting and pretty good result.

You actually added Maus right before you went in to record the album In a Reverie?

CM: No, he actually came in right after we recorded. When we did In a Reverie, I was the only guitar player and recorded everything by myself. So when he came in, it wasn't even one year later, then he started writing stuff as well. When we did In a Reverie, me and Marco were the main composers and we did that album in three months or something like that.

Then when we went to record, it took us about two weeks to record everything and then another ten days to mix or something like that. It was quite hardcore. We were there until really late at night because we knew that we were never gonna make it. But when Maus came in, it was definitely a great thing for me. I could be a little more lazy.

Did you know that you definitely needed a second guitar player after that experience?

CM: To be honest, we tried to have a keyboard player instead of another guitar player. But it didn’t really work that well because all of the songs that we were writing had more guitar parts than I could play live. So it was like, “Man, if we have to go on like this, we need to have another guitar player.” And everybody agreed on it because the keyboards were a nice touch, but we thought that we really didn’t need to have a keyboard player in our music.

Another guitar player was definitely more necessary than a keyboard player, so that’s when we asked Maus because we were friends and we knew that he was a good guitar player. So we asked, “Hey, what do you think?” And he said, “Okay, let’s do it! That’s great!”

Your producer, Waldemar Sorychta, has worked with you on the last several records. Is he a co-writer as well?

CM: Not really. He gave us some ideas, of course, but I mean every producer probably does. But he never actually co-wrote anything, especially on the last album. He did on some of the previous albums. On In a Reverie, for example, he wrote a complete song by himself, well, together with Cristina. But that was the only episode since we’ve worked with him. For Karmacode, of course, he obviously gave us some input and some ideas that we decided to use or not, according to what song we were doing.

But he didn’t really tell us, “Oh, you should do this,” or, “I wrote this part, you should use it.” He’s more like a supervisor. He comes in, and when you’re already working on stuff and everything is ready at 80 to 85%, he’s like, “Okay, this song is very good, but I would try to change things around. So maybe you can play this part twice as much as you do right now or maybe cut that part because it’s too long.” It’s mostly stuff like that than actually writing parts for us. It’s always been like that.

It’s great because he has, I would say, a fresh ear when it comes to giving advice. When you focus too much on a song, you lose a little bit of focus on what the goal should be. Sometimes you keep playing and playing and you’re like, “Oh, I’m not sure.” And you can’t find the right direction. Then he would come in and say, “Oh, why don’t you try doing this?” and it would work great because it’s like somebody from the outside that never heard the songs. He’s really good at that. He’s more like, “Oh, yeah, maybe try do this.” And you're trying things and he'll say, “Oh, it’s great,” or maybe, “No, I don’t like that.” He's more like an adviser than a co-writer.

At the end of the day, how do you describe your guitar sound?

CM: I think that, as most of the guitar players out there, you always want to have the heaviest sound possible. As long as it doesn’t ruin the atmosphere of the song, we always like to have the sound that’s both really big and really clean, but not too much. We don’t want to have this kind of electronic sound that some bands have. For example, Rammstein, even though I love their sound, I think sometimes it sounds a bit too fake.

Maybe I shouldn’t have said that, but the sound that we found was actually a very good compromise, in my opinion of course, of what a clean but heavy sound should be. I really think that we achieved something to reach this kind of sound. I think it was something we were very picky and particular about. On each album we recorded before Karmacode, there was always something that we weren’t very happy with, guitar sound-wise. With Karmacode, since we had the time to work on the sound a lot more than in the past, then we were able to find some really good tones. I would say as big and heavy as possible, but not too much.

What was it like doing the Donington Festival? You played with bands like Guns N’ Roses and Metallica.

CM: I love Guns N’ Roses! I used to be a big fan, and Metallica too, of course. For a band like us, coming from Italy, a country that doesn’t really have a rock background or rock history, to be able to play onstage like that, especially since at Donington we played on the main stage in front of 65,000 people, was amazing!

You’re there and you go onstage and all these people are there, and it’s not like they’re throwing rocks or rotten eggs. They’re all there listening and most of them were jumping, too. It’s very, very emotional. And then when you’re done, you have a chance to see these other big bands playing.

For example, when we were at Ozzfest, I think I saw System of a Down’s show like 15 times. It’s great because it’s like you have a free ticket every night other than being onstage and playing. So it’s very cool. It’s something that I did and none of us actually thought possible if you go back ten years, or even five. So it’s definitely a great experience.

Italy has never had a huge rock scene. Do you feel that Lacuna Coil is blazing the way for other Italian bands?

CM: This is something that we all thought about many times. We hope that we were able to give other Italian bands the chance to be discovered. When we started, Italy was really like the third world of rock and metal music because nobody really knew any other bands coming from Italy that would play this kind of music.

I mean, PFM and other bands like that were very popular, but very popular in Italy because they would sing in Italian. Even though we started with the intention, with the goal of making it internationally, of course we never thought that we could be in Ozzfest one day.

As any band when you start, you always hope that something will happen. So when we started, we thought like, “Okay, if we want to do this right, we’re just gonna start and sing in English. We are gonna try to get a deal not with an Italian label because it would limit us too much.”

So we just tried to go to Roadrunner, to Century Media, to Nuclear Blast, and all these other independent labels that at the time were pretty big, as they are today, of course. At that time, it was really like there was this huge explosion of bands like Moonspell or Tiamat or The Gathering. We just basically sent out our tapes and waited to see what would happen.

I guess it was the right thing to do, seeing what's happened today. I really hope what we've been able to do will help other Italian bands because there are a lot of Italian bands that really deserve to be where we are right now and deserve to at least be heard.
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Lacuna Coil Discography
Ethereal (2-track demo) - 1996
Lacuna Coil (CD, Century Media Records) - 1998
In a Reverie (CD, Century Media Records) - 1999
Halflife (CD, Century Media Records) - 2000
Unleashed Memories (CD, Century Media Records) - 2001
Heaven's a Lie (CD single, Century Media Records) - 2002
Comalies (CD, Century Media Records) - 2002
Comalies (2-CD Special Edition, Century Media Records) - 2004
Swamped (CD, Century Media Records) - 2004
Unleashed Memories (re-release) (CD, Century Media Records) - 2005
In a Reverie (re-release) (CD, Century Media Records) - 2005
The EPs (CD, Century Media Records) - 2005
Enjoy the Silence Vol. I (CD single, Century Media Records) - 2006
Enjoy the Silence Vol. II (CD single, Century Media Records) - 2006
Karmacode (Vinyl LP, Century Media Records) - 2006
Our Truth Vol. II (CD single, Century Media Records) - 2006
Our Truth Vol. III (CD single, Century Media Records) - 2006
Karmacode (CD, Century Media Records) - 2006
Our Truth Vol. I (CD single, Century Media Records) - 2006

Related Links
Lacuna Coil
The Lacuna Coil Community & Official Worldwide Fan Club
Century Media Records
Photographer Rudy De Doncker
ESP Guitars
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