Gatto Black – Sky Is Blue
If there is a singular ethos driving Buffalo’s Gatto Black, it is the sheer, unadulterated catharsis of truth. The recording project, spearheaded by singer/songwriter Sal Mastrocola, has spent the last few years sharpening its teeth on a pair of EPs—2022’s 2 Stressed 2 Be Blessed and 2024’s (Not) Ready To Die. But on his debut LP, Sky Is Blue, Mastrocola isn’t just sharpening teeth; he’s baring them. Released via Triple Hammer Records, the album benefits heavily from the steady hands of producers Gary Cioni (Hot Mulligan, Crime in Stereo) and Michael Hansen (Pentimento, Hotel Etiquette). Together, they have helped Mastrocola sculpt a sound that sits comfortably at the intersection of melodic hardcore and emo, channeling the frantic energy of Comeback Kid with the emotional weight of Touché Amore.
The visual identity of the album—a black cat (often the project’s mascot of sorts) precariously navigating a power line against a bright blue backdrop of sky—serves as a fitting primer for the themes within. Sky Is Blue is a record about balance and the anxiousness that comes with finding your footing. Lyrically, there’s a lot of well-placed anger and even more “just try me” resolve. Gatto Black’s website describes the project as a confrontation of the weight of growing up queer and Catholic, reconciling the self against the threat of “eternal suffering.” Consequently, the music feels like a frantic sprint toward the light. There is something inherently punk rock about simply existing as your true self, and Gatto Black captures that specific desperation to be seen and understood without filter.
Musically, the album wastes no time establishing a pulse. The opener and lead single, “You Can’t Make Me Dance,” is a ripper in the truest sense. Anchored by a truly ungodly tempo and dizzying guitar work, Mastrocola wails about clawing back autonomy with lines like, “You twist me but you can’t make me dance / you can’t control everything.” That white-knuckle intensity is nestled in the very core of the album, with tracks like “Idiot Kid,” “The Mask Is Slipping,” and “It All Went Black” all sharing the same ferocity. These tracks provide the adrenaline, but they also highlight Mastrocola’s ability to deliver a performance that feels physically exhausting in the best way possible.
“Soon You’ll Be Forgiven” is an outlier and a highlight. Opening with a spoken-word verse over twinkling guitars, it evolves into a track that feels more akin to The Hotelier’s triumphant emo revival than a standard hardcore cut. The track is more restrained, but no less intense. Hansen’s influence is palpable here, with layers of harmonic screaming over cryptic introspection as often heard in Hotel Etiquette tracks. When Mastrocola asserts, “Soon you’ll be forgiven / nobody said by who,” it lands with a gravity that feels less like a lyric and more like a realization.
The back half of the record showcases a surprising amount of range for a genre that often relies on speed. “So Long” sees Mastrocola flexing more of his singing voice alongside his signature screams, creating a texture that feels dynamic and full. Conversely, “Don’t Stand Over My Grave” strips everything away save for an underwater guitar lead, giving Sal’s absolutely gut-wrenching vocal performance nowhere to hide. Hearing his voice crack with honesty as he sings, “Don’t dare stand over my grave,” offers a moment of genuine vulnerability that does well to ground an already extraordinarily authentic sounding record.
The album closes with “Run Forever,” a track that manages to be as fast-paced as the opener but decidedly more hopeful, utilizing post-hardcore elements (dive-bomb guitar slide anyone?) to drive home the message that “sinners never win / but I don’t believe in sin.” For a record that spends its time sprinting towards the light, this song feels a destination reached, which is delightfully ironic given the song’s title. After the anxiety, the religious guilt, and the frantic soul searching, Gatto Black lands on a note of optimism. Sky Is Blue is a record that bleeds authenticity, making it a worthy listen even for those who don’t usually find themselves in the hardcore aisle. And for those who do, this album is a centerpiece. Streaming now everywhere.
Categorised in: Album of the Week
This post was written by Ronald Walczyk