Single: Maledictis ‘Delicta’ on 4 March 2022.

Immersing into delicate flute melodies, a haunting choir, and dynamic metal instruments, “Delicta” is the powerful new single from Gothic chamber metal project, Maledictis. The brainchild of John Marszalkowski, Maledictis emerged as a means to collaborate with musicians around the world during the COVID-19 quarantine, releasing the debut self-titled EP in December of 2020.

Unlike the previous release, which was recorded remotely, the new single embraced the ability to record in person with talented musicians in a stunning setting. A number of the instruments were recorded at Calvary Presbyterian Church in downtown Milwaukee, the Gothic architecture of the building dictating the nature of the atmosphere created by the reverberations. The recording also diverges from the traditional string quartet using a ‘choir’ of cellos instead, making use of the instrument’s wide range. “Delicta” is a song about betrayal told from the point of view of the betrayer who acknowledges their fault and accepts their consequences. Opening with a striking flute melody, the track builds with brass, cello, and a choir chant being gradually layered to produce a compelling sound comprised of multiple harmonies. The heavy instrumentation enhances the orchestral elements by adding a powerful layer beneath the soaring melodies.

“Delicta” is an enchanting experience, delving into the powerful dynamics of orchestral instruments and adding a distinctive twist through unconventional recording techniques. It’s a thrilling celebration of heavy music with a delightfully Gothic focus.

Credits: Lead Vocals-Mariangela Demurtas / Piano, Organ, Guitar, Bass-John Marszalkowski / Flute-Emelia Rudd / French Horn-Allison Emm / Trumpet-Tim Tyson / Cello-Ian Wasserman / Drums-Matthew Kopf / Choir-Julia Varandas, Kate Stenson, Claudia Peri, Caroline Misokane, Rafaela Martinelli, John Tyson / Lyrics & Music by John Marszalkowski / Mixed and Mastered by Shane Olivo at Shane Olivo Audio (Cudahy, WI) / Recorded and edited by John Marszalkowski