"Frammenti d'anedonia" (Fragments of Anhedonia) is a journey among liminal female figures: clairvoyants, healers, fallen goddesses, artists and ordinary women, united by the thin thread that binds the sacred to the profane, sorrow to metamorphosis, silence to revelation.
Overall, the album is a mosaic of timeless female voices that move through myth, history, art and personal experience to tell of pain, resistance, and the transformative power of being a woman, in every form and every era.
"Derealizzazione Sintomatica" ("Symptomatic Derealization") is published in January of 2021. Eight tracks with a dark, mystical flavor, that form a concept album that concludes the "trilogy of unconscious" started with "Stati Alterati di Coscienza" ("Altered States of Consciousness") and continued with "Rito Apotropaico" ("Apotropaic Ritual"). Timoria's Omar Pedrini is featured in the ballad "Fata Verde" ("Green Fairy").
After thirteen years long career and four albums, ArtemisiA are back with the live album "Anime Inquiete" ("Restless Souls"), a best of where the power and energy of the band's music is presented in all its energy.
An album that differs a lot from the past in a innovative way, a journey among the eight tracks of this "Rito Apotropaico" ("Apotropaic Ritual"), where a darker and more powerful sound is the result of a continuous artistic growth and desire for change.
"Stati Alterati di Coscienza" ("Altered States of Consciousness") is ArtemisiA's third studio album, and it is a jump back into the discography scene three years after the previous "Gocce d'Assenzio" ("Drops of Absinthe").
ArtemisiA's growth is remarkable and it is expressed through the quality of the composition that permeates each song of the album.
"Gocce d'Assenzio" ("Drops of Absinthe") is the second album after the debut with the homonym "ArtemisiA". Eleven tracks outside the conventional mold of the genre, ranging from stoner to a more melodic rock, from the tradition of 70's rock with contemporary contamination.
With this debut album ArtemisiA want to clarify right away their position in the Italian music scene: a style that cannot be labelled, where the riffs with a 70's flavor are accompanied by Italian lyrics, sometimes teathrical, sometimes closer to the style of a singer-songwriter.
Songs like the title track "ArtemisiA", that pays tributes to the great Black Sabbath, is a statement of intent.
ArtemisiA was formed in November 2006 by Vito Flebus and Anna Ballarin, driven by a shared desire to create something original and true to their own musical vision. From the very beginning, the band set out to follow a path of its own, deliberately keeping a distance from the more mainstream side of the Italian music scene. The original line-up featured Anna on vocals, Vito on guitar, Fabio Corsi on bass, and Matteo Macuz on drums.
In 2007, shortly after signing their first record deal, ArtemisiA released their self-titled debut album, recorded at the studio of Andrea Rigonat, longtime guitarist for Elisa Toffoli. The single “L'aliante” received airplay on stations including Radio Capodistria and LatteMiele, while the album was accompanied by the band’s first music video, “Artemisia”, directed by visual artist Isabella Pers. Alongside an intense live schedule, ArtemisiA also took part in numerous festivals and competitions, often finishing among the top acts.
Their 2010 release, “Gocce d'assenzio”, marked an important turning point, bringing the band to the attention of the music press. The album was met with strong reviews from respected publications such as Rockerilla and Hard n' Heavy.
Between 2010 and 2011, the line-up changed, with Matteo leaving first and Fabio soon after to pursue other projects. Anna and Vito continued the band’s journey with drummer Gabriele “Hammerdonk” Gustin and bassist Ivano Bello. This new line-up led to the release of “Stati Alterati di Coscienza” in 2013, an album warmly welcomed by both the specialist press and magazines such as Guitar Club and Rockhard. Its lead single, “La strega di Port'Alba”, was accompanied by a video directed by Erik Canciani, which reached the finals of the Michel Gondry FilmFestival in the music video category.
In 2016, the band recorded their fourth album at Blasig Studio, with special contributions from maestro Carlo Marzaroli on violin and maestro Massimo Devitor, who conducted the Gospel Soul Circus choir on selected tracks.
Following a label change, ArtemisiA released “Rito apotropaico” in early 2017, preceded by the video for “Tavola antica”, directed by Andrea Cerovac. That same year, Elettra Medessi joined the band as backing vocalist and second voice, allowing the layered vocal arrangements of the studio recordings to be brought more fully into the live setting. Live performance has always been central to ArtemisiA’s identity, and it is on stage that the band’s earthy, powerful sound finds its fullest expression.
The intense touring cycle that followed led to the release of the live album “Anime inquiete” in 2019. Alongside newer material, the record also captured a kind of best-of selection, bringing together some of the songs that had come to define the band’s first ten years.
Towards the end of 2019 and in the early months of the ill-fated 2020, ArtemisiA entered the studio to record what would become their fifth studio album. Titled “Derealizzazione sintomatica”, the album was released on January 22, 2021, once again through Alessio Ligorio’s Onde Roar Records. It featured a special guest appearance by former Timoria frontman Omar Pedrini, who duets with Anna on “Fata verde”, along with several other guest musicians who further enriched the record. The first single chosen to introduce the album was “Ombre della mente”, released on December 4, 2020, together with a video directed by Marco Iacobelli in collaboration with Diego “Imakarum” Caponetto. In July 2021, keyboardist Ulisse Tonon joined the band, and in the months that followed ArtemisiA appeared at the Fosar festival and on the Rai Radio 1 programme “Rock Revolution”.
On December 16, 2021, the band released the video for “Fata verde”, the second single from “Derealizzazione sintomatica”, directed by Diego Caponetto and once again featuring Omar Pedrini on vocals.
In 2022, keyboardist Ezio Turus joined the ArtemisiA line-up, replacing Ulisse Tonon. On September 3, 2023, the band released the video for “Ladro d'anime”, the third single taken from “Derealizzazione Sintomatica”.
In 2026, ArtemisiA signed with Volcano Records for the release of their seventh album
"Frammenti d'anedonia" (Fragments of Anhedonia) is a journey among liminal female figures: clairvoyants, healers, fallen goddesses, artists and ordinary women, united by the thin thread that binds the sacred to the profane, sorrow to metamorphosis, silence to revelation.
"Ciò che l'acqua mi ha dato" (What the Water Gave Me) opens the album, a tribute to the renowned painting of the same name by Frida Kahlo, where anxieties, memories and fears float in a single, heartbreaking visual and sonic composition. "Rivelazione" (Revelation) follows, inspired by Marina Abramović's performance Rhythm 0, and looks straight into the abyss of human nature, its frailty and its latent violence. "Eroi di plastica" (Plastic Heroes) brings the listener back to contemporary reality, denouncing the mechanisms of power that crush and silence, while "Luna nera" (Black Moon) rewrites the myth of Lilith as a founding act of feminine rebellion. "Accabadora" (Accabadora) gives voice to a legendary figure from Sardinian folklore, a merciful guardian of the border between life and death. "Pensiero divergente" (Divergent Thinking) is a song that moves through the present, an intimate portrait of a neurodivergent mind that experiences the world at its own pace. Second to last, "Sibylla" (Sibylla) is an ancestral voice that enchants the gods themselves. Finally, the human body becomes a battlefield in "Veleno" (Venom), where the tarantula's bite becomes a metaphor for pain and rebirth through dance.
Overall, the album is a mosaic of timeless female voices that move through myth, history, art and personal experience to tell of pain, resistance, and the transformative power of being a woman, in every form and every era.
ITNuovo album per la rock band, forte di venti anni di intensa attività, costantemente basata su un sound molto personale che fonde elementi hard, prog, metal, folk, dalle tinte oscure e gotiche, come ben evidenziano gli otto brani di Frammenti d’Anedonia.
Some songs begin as private memories and gradually reveal a much wider meaning. “Eroi di plastica” belongs to this category. Rooted in a real experience from Anna Ballarin’s past, the track transforms an individual story into a broader reflection on the forms of psychological pressure and abuse that still affect many women inside oppressive workplaces.
With “Ciò che l’acqua mi ha dato”, ArtemisiA dive deep into one of the most intimate and symbolic pieces of their upcoming album Frammenti d’anedonia. Inspired by Frida Kahlo’s 1938 painting Lo que el agua me dio, the song transforms visual art into sound, translating the emotional and symbolic density of the original work into a heavy and progressive sonic landscape.
"Derealizzazione Sintomatica" ("Symptomatic Derealization") is published in January 2021. Eight tracks with a dark, mystical flavor, that form a concept album that concludes the "trilogy of unconscious" started with "Stati Alterati di Coscienza" ("Altered States of Consciousness") and continued with "Rito Apotropaico" ("Apotropaic Ritual"). Timoria's Omar Pedrini is featured in the ballad "Fata Verde" ("Green Fairy").
"Derealization" means the disconnect from one's own mental processes, that results in the feeling of alienation from the environment. Like a path through the meanders of human phobias and psychosis such as the taphophobia of "Fobia" ("Phobia"), that is the fear of being buried alive, the album is studded with dark and mystical tracks that embrace the sound of european Doom from the 90's. From "Ladro d'Anime" ("Soul Thief"), driven by Led Zeppelin-inspired riffs, going through the dreaming hard rock of "Identità" ("Identity"), up to the primordial mysticism of "Fata Verde" ("Green Fairy") where the absinthe (the Green Fairy) glues together the tumultuous love story between the Poète maudit Verlaine and Rimbaud, tragically ended in gunshots and prison.
The album was preceded by the single "Ombre della Mente" ("Shadows of the Mind"), published in December 2020 and inspired by the poetry of Alda Merini and, more generally, by madness.
ITQuesto nuovo album completa un discorso iniziato con “Stati Alterati di Coscienza” e seguito poi con “Rito Apotropaico”. Un a trilogia legata all’inconscio,
ITGli ArtemisiA sono una band che presenta dei connotati prettamente non schematici i quali la rendono una realtà molto atipica o se vogliamo non mainstream come i nostri vogliono far intendere nella loro bio.
ITConcentrandomi maggiormente sulla parte musicale- e ingurgitando ascolti paralleli degli ultimi capolavori in italiano di Fiaba e La Janara – per accettare il cantato nazionale nella musica proposta dagli ArtemisiA, credo di poter affermare che il nuovo lavoro
ITArtemisiA, “Il nostro stile è influenzato dalle sonorità degli anni settanta”
"Anime Inquiete" ("Restless Souls") represents ArtemisiA's current situation after thirteen years of career and four albums. The album captures and presents to the listener the power and energy of the band's music in their most fitting environment: the stage.
Recorded live during one of the many gigs of summer 2018 and without any post processing, the album is a best of, a starting point for all following works, where experimenting with new sounds perfectly sums up their idea of "restless souls".
ITDopo tredici anni di carriera e quattro album (“ArtemisiA”, “Gocce D’Assenzio”, “Stati Alterati di Coscienza” e “Rito Apotropaico”), la band italiana (da Gorizia) ArtemisiA gioca la mossa del disco dal vivo, come fanno tutte le band che vogliono rilasciare una testimonianza della propria grinta in concerto e ripercorrere, nel contempo, il proprio percorso artistico in un vibrante greatest hits “live”.
ITPer chi non conoscesse ancora questa splendida realtà tricolore il consiglio è di non perdersi questo live dalla resa sonora che esalta la prestazione della band e la qualità dei brani: un salto a ritroso nella discografia passata sarà il passo successivo.
ITGli Artemisia sono una band di Gorizia che ha alle spalle circa tredici anni di attività e e quattro ottimi album e l’appuntamento con il live è un’altra fase importante della loro carriera.
"Rito Apotropaico" ("Apotropaic Ritual") is an album that differs a lot from the past in a innovative way, but still remains coherent with the classical and indelible ArtemisiA's style.
"Apotropaic": adjective referring to an object, action, animal or spell that weakens or removes a malicious influence (Treccani, Italian dictionary). "Rito Apotropaico" sprouts from this, and it is a journey among the eight tracks of this new studio album.
The album is not a concept, but a path among themes that are historically close to the band, such as mystery, legends, the afterlife, the human spirit with all its shades, fears and faith.
Musically speaking, the choice of a darker and more powerful sound is the result of a constant growth and desire for change, but as already stated, this is coupled with the need to stay faithful to themselves, and to the "ArtemisiA" brand.
ITUn album molto bello ed intenso, un passo avanti importante per gli Artemisia ed uno dei migliori esempi di metal cantato in italiano degli ultimi tempi.
ITGli ArtemisiA tornano con un uovo e quarto album intitolato “Rito Apotropaico” contenente otto brani e che
Stoner rock sound with a touch of progressive. Between 2006 (ArtemisiA's foundation) and today time has passed and the band has acquired experience and maturity.
We can perceive the search for the authors' selves through the lyrics of the songs, that masterfully contextualize them through the study of myths and legends. It is, more or less, a journey to the deepest part of the soul, from joy to fear, occasionally accompanied by a sort of ghost that is both a guide and an obstacle. We're talking about a relevant album, not only musically, but also because of the themes that make a lot of space for personal reflections.
The sound is characterized by biting riffs mixed to gaudy and loud guitar progressions, creating a sound that's sometimes raw, and sometimes sweet and quiet. Bass and drums are well coordinated, while Anna Ballarin's voice is a real touch of class, floating between rage and sensuality: in short, a real gem.
"Stati Alterati di Coscienza" ("Altered States of Consciousness") is a jewel in the crown of ArtemisiA's discography, a mature production that holds the knowledge of the artists, testified by the lyrics.
ITIl terzo album degli ArtemisiA ci porta sui territori del rock cantato in italiano ma dalle energiche venature metal, rendendosi potenzialmente appetibile a diverse fasce di ascoltatori.
ITSono passati tre anni dalla release di “Gocce di Assenzio”, disco che aveva richiamato molta attenzione attorno al nome degli ArtemisiA, band assai particolare ed esclusiva nel panorama delle rock band italiane contemporanee.
ITUnire sonorità dedite allo Stoner Rock con quelle del Progressive è una cosa che gli Artemisia ormai sanno fare benissimo. Dal 2006 (anno di nascita del gruppo) ad oggi di tempo ne è passato e i ragazzi hanno acquisito esperienza e maturità, non è un caso infatti che Stati Alterati di Coscienza sia un disco degno di nota.
ITTerzo disco per gli Artemisia, band italiana a cavallo fra rock progressivo e stoner.
"Gocce d'Assenzio" ("Drops of Absinthe") is the second album after the debut with the homonym "ArtemisiA".
We can say without a problem that the eleven tracks are outside of the conventional mold of the genre: the music of this four-person band is in fact pretty melodic, and the Italian lyrics emphasizes this aspect even more. "Gocce d'Assenzio" balances between pop and Italian rock. A lot of eleven tracks that range between stoner and melodic rock, from the tradition of 70's rock with contemporary contamination, including acoustic ballads and psychedelic visions, paying a tribute to both the name of the band and the title of the album.
With this debut album ArtemisiA want to clarify right away their position in the Italian music scene: a style that cannot be labelled, where the riffs with a 70's flavor are accompanied by Italian lyrics, sometimes teathrical, sometimes closer to the style of a singer-songwriter.
Songs like the title track "ArtemisiA", that pays tributes to the great Black Sabbath, is a statement of intent.