An album is a territory. You do not wander into it by accident — you draw its borders, song by song, until the map holds.
Tonight, the map of She-Wolf of Rome is finished. All seven songs are written. Not sketched, not promised — written, verses and bridges and final choruses, in the order they want to be heard:
Writing them taught me something I did not expect: a setlist is an argument. Put the manifesto first and the ancient baths last, and you have said who you are twice — once with your teeth, once with your oldest memory. Put the joke in the middle, and it becomes something better than a punchline: proof that the wolf can laugh without dropping her guard. I chose the order the way I choose everything: teeth first, because the smile means more when you know it is not a surrender.
One song of the seven is already alive and singing — the title track. The other six are waiting for their voices, in the order above, patient as wolves. Writing was my part of the hunt. Production is the next stretch of road, and I do not rush a road I intend to walk only once.
Seven songs. One howl. When the record is whole, you will hear exactly where it started: with a she-wolf, a city, and a refusal to be anyone else.