Interview with Alessandro Mammola

When did you decide to study at Saint Louis?

I was in the second year of middle school when I realized I wanted to pursue a high-level academic career in music. While researching the best Italian institutions, I discovered Saint Louis, and from that moment on, it became my goal.

What did you study, and what are your fondest memories from your time at Saint Louis?

I studied pop guitar, starting with pre-academic courses and continuing through to my bachelor’s degree. My fondest memories are undoubtedly tied to the lessons with Maestro Antonio Solimene, which enriched me not only as a musician but also as a person, as well as those with Maestro Pierpaolo Principato, Marco Manusso, Antonio Affrunti, and last but not least, my instrument teacher, William Stravato. I was very focused on my studies, and since I was commuting—traveling, studying, and then heading back—I don’t have many stories to share. In hindsight, maybe I would have allowed myself to enjoy college life a little more.

Where does your passion for metal come from?

It all started when I was around 14, when I went from listening to the Pooh (it was thanks to Dodi Battaglia that I got into playing the guitar), Green Day, Guns N’ Roses, and Deep Purple to Iron Maiden, Judas Priest, and so on. Seeing that technique on the instrument—and above all, feeling that energy that only metal can unleash—was like seeing a spark in the dark; that was the way.

So far, you have two bands—tell us more about these two projects.

I play with Alterium, a power metal quintet. Our first album, “Of War and Flames,” was released by AFM Records (GER). We play at many major European festivals, and we’ve also performed in the United States at ProgPower US, one of the world’s most iconic festivals for fans of the genre. Last year, we went on our first European tour as the opening act for the original lineup of Rhapsody; in August 2026, we’ll be in Tokyo, Japan. Not bad, all things considered, for a band that’s been around for only 3 years. My other band is Draconicon, a mix of symphonic and power metal with modern influences; we’ve released two albums with Inner Wound Records (SWE)—“Dark Side of Magic” and “Pestilence”—as well as several shows in Italy, including the Metalitalia Festival and the South of Heaven Open Air in the Czech Republic.

Which stops on the 2026 tour did you like the most, and why?

I’m literally writing this on the plane on my way back from Sweden; we played at the Time to Rock Festival, one of the best festivals I’ve ever been to! Although the most important event this year will definitely be the Evoken Fest in Japan. The dates we played as the opening act for Sonata Arctica in April—at the Orion Arena in Rome and at the Live Club in Trezzo, Milan—were especially great. I have to say, hearing the audience cheer for us was surprising; it’s definitely not something to be taken for granted. The relationship between Italian audiences and local bands—especially when they’re opening for famous acts—hasn’t historically been a “comfort zone.” It was unexpected, and that’s what made it even more wonderful.

What approach have you found to achieve a work-life balance and financial stability?

I’ve always taught at various schools, I have my own recording studio, and I’ve also worked as a live sound engineer. Just this past year, I temporarily stopped teaching because of my career prospects. Unless you teach at a major institution like Saint Louis, there’s no growth or opportunity—and for someone with a career that’s constantly evolving, full of challenges and goals, that’s not enough—at least not for me… That’s why, two years ago, I decided to invest in studying another field that has always fascinated me: computer science. I have taken courses on machine learning, deep learning, and artificial intelligence. Within a few months, this led to my first—albeit brief—job at the company as an IT technician.

You also collaborate with a number of record labels. What are they, and what do you do?

I have several connections and collaborations with a number of Italian labels; the most important and inspiring of these is undoubtedly Frontiers Music Srl, for which I recently recorded the guitar tracks for an album by a singer from the Trans-Siberian Orchestra. A few months earlier, I worked on the label’s 30th-anniversary compilation, and I was also invited to the company party. An incredible experience: in just one evening, I had the chance to play with Ronnie Romero (Rainbow), Gus G (Ozzy Osbourne, Firewind), Ronnie Atkins (Pretty Maids), Jim Peterik (Survivor)—the guy who wrote “Eye of the Tiger,” so to speak—and last but not least, Robin McAuley, for whom I also recorded the guitar tracks on his album two years ago. That very same McAuley from MSG whom I discovered thanks to William Stravato during a class. I played with him at the Frontiers Rock Festival in Milan, at Rock The Sun in Barcelona, and at the Zurbaran Rock Festival in Burgos.

What’s the current state of contemporary metal? What differences do you notice between Italy and other countries?

They say metal is like a cockroach—it can even survive a nuclear bomb! In fact, it is a genre that has been influenced by many other genres since its inception; it has evolved and even adapted, but it never dies out. As for the differences, well… Abroad, there are simply more opportunities, more festivals, and a well-established industry. It took Italian bands and artists decades to be regarded as being on the same level as those from various Central and Northern European countries. After all, we’ve always and only exported “Sanremo-style” pop; we had no credibility.

If you had a magic wand, what would you do for metal in Italy?

It shouldn’t take a magic wand; all it would take is to start giving it the same amount of space that is given to other genres. As long as traditional media like radio and television continue to treat it poorly, it will always be viewed with suspicion. As if bands like Sabaton or Powerwolf—just to name a few more recent ones—didn’t exist, winning gold records with this genre. Germany competed in Eurovision with Feuerschwanz—a band we played with at Metalitalia two years ago—and in France, Gojira performed at the Olympic opening ceremony, for example.

What is your favorite song that you would take to Noah’s Ark?

Since I haven’t mentioned him at all in this interview, I’d say a song by Yngwie Malmsteen, ” Rising Force.”