MASSIMO PIERETTI

— First review of this album —

A taste of what will be a quite interesting and dreamy album!

I've had the luck of being in contact with talented Roman composer Massimo Pieretti, whose music arrived to my ears last year. Now in the second half of this 2024 he is giving us a brief encounter with his second full-lenght album, which will be released in a few months, however, with "Creature of the Night" we are given a proof of his world of dreams.

PIeretti has made a great work not only by composing excellent music under a fantastic concept, but also by joining a line-up of amazing guest musicians who collaborate in this record (or in this case, this EP), most of them fellow Italian colleagues like Claudio Milano, but also there is a quite interesting bunch of non-Italian artists such as Mattias Olsson, John Hackett or Rob Townsend, to name a few.

So for this 4-track EP hi gives us 15 minutes of symphonic-pastoral-dreamy music which kicks-off with "Come Heavy Sleep", a brief introduction to this world of dreams and fantasy which might actually be a reflection or our reality. Female opera-like vocals appear here with a gentle musical background which has mandolin and orchestral strings included, there is also a nice electric guitar sound; I think this could sound like a passage of a Mike Oldfield's epic. In the last seconds Pieretti's spoken word appear in order to open the gates to the next track, or to the other world.

His voice speaks "welcome to the world of dreams, where we spend so much time along with other beings. Who are they? Here they are!", and then we are listening to "Creatures of the Night, Pt. 1" which has an amazing guitar solo by Simone Cozzetto, who in a few seconds creates a Floydian atmosphere but at the same time takes us fast metal- like nuances; then Germana Noage starts singing and telling us what the story is about. The music is quite interesting and emotional, blending prog rock with symphonic metal, some folk and even opera.

"Creatures of the Night Pt. 2" comes next, a song that by the way was released as the first single of this album. It sounds like a play, the concept and performance have a theatrical essence, even like a novel. Musically the Floyd resemblances appear again with the guitar sound, and I like that Pieretti has chosen a different singer for each track, adding colorful palettes (greatly complemented by strings, percussion and of course, keyboards).

The last advancement of his upcoming album is entitled "I Dreamed of Flying", a song with an emotional essence, where hopes, dreams and a brighter future float. The music is soft, full of beauty and tenderness in one hand, but with nostalgy, uncertainty and sadness in the other hand, The music wonderfully flows, one can even close the eyes and feel enchanted by its sounds, it is an open invitation to dream, or to explore more about the meaning of our own dreams. Delicate acoustic guitar notes, emotional male and female vocals, and great keyboard work, mellotron and a moog solo included.

Well, those 15 minutes went flying as well, so I am looking forward to hear the whole album, which I am sure will deliver the same quality as these four examples.

Enjoy it!

Massimo Pieretti's debut album A New Beginning is an eclectic prog opera with a plethora of guest artists from a pot- pourri of Italian musicians and vocalists. The intriguing storyline is about holding onto family values, discarding political principles to embrace freedom and the attempt to understand the behaviours of others in order that the world can be a better place.

There are so many styles of music on offer here but the album really shines on the vocals, female vocals are welcome to break it up too, and the musicianship is excellent especially those electric guitar passages and keyboards.

Highlights are Is It That Girl Right?, Out of This World, Family and Business and all sections of A New Beginning, Looking for the Best and The Only Way You Can Be. I like how the tracks are short so you can lock onto the melodies easily. The lead guitar is phenomenal on tracks such as The Only Way You Can Be where it soars and the gentle playing on the beautiful I Hope You Will Always Be Here with Me, accompanied by lovely female vocals. The democratic political rally sound Byte from Chaplin's The Great Dictator was a fascinating choice satirising the political landscape which happens to be in tumult in USA now; a coincidence to hear it today for me but amusing nonetheless.

This is an album worth hunting down online, bandcamp has it though unfortunately not yet on Spotify. In any case seek this one out as it is emotionally charged and a powerful uplifting listening experience.

— First review of this album —

This is the newest single from the upcoming Massimo Pieretti's full-lenght album 'The Next Dream', a concept album based on the world of dreams, which will be released later this year.

Now with 'I dreamed of flying', Pieretti and company give us a song with an emotional essence, where hopes, dreams and a brighter future float. The music is soft, full of beauty and tenderness in one hand, but with nostalgy, uncertainty and sadness in the other hand, and this is because we cannot deny the world we live in and all the terrible things that are happening in certain parts, where war and anti-humanism prevail.

As usual, there are several guest musicians in this track (we can expect much more in the album), starting with the singers who do a great job, both male and female representing equality and union. We can listen to different keys and synths during the track, creating a diversity of nuances and keeping a vibe of hope, until in the last minute we can enjoy a cute moog solo. Guitars also create a tender vibe, very soft and delicate, while percussion add richer palet of sounds.

A nice song indeed, now I am looking forward to hear the whole album, which surely will be quite interesting.

This very good song is the first single of Roman composer and keyboard master Massimo Pieretti's upcoming second album, which will be entitled 'The Next Dream' and will be released in a few months. That record will have a feast of guest musicians, mostly from Italy, but also from around the globe.

In this first approach, Pieretti and guests delight us with a 5-minute track that starts with Claudio Milano's enigmatic voice, opening the gates to a proggy and rocky sound, with guitars that remind me a bit of Pink Floyd's The Division Bell era, and with a potent vocal work from Laura Piazzai, which adds a theatrical sound to the song.

Drums and percussions are provided by Mattias Olsson from legendary Swedish band Anglagard, and his work is remarkable, as usual. The track is colorful, while Pieretti creates different layers with his keys, we can appreciate some classical-like strings such as violin and cello, as well as the rockish base created by bass, drums and guitar.

It is an enjoyable track to my ears, I've liked it and now am curious to know what's next, so I'll be keen on listening to the upcoming album.

Give this single a listen!

Two years after the release of his debut album, Italian pianist/keyboardist Massimo Pieretti offers his new work. This time it's just a single, and it is recorded with significantly smaller team of musicians, comparing with Pieretti debut.

Main attraction point of the only song of the release is Italian-born Sweden-raised vocalist Laura Piazzai (who collaborated with Pendragon/Arena keyboardist Clive Nolan among others). Her vocal is powerful, colored with classic soprano background.

Song's music is Massimo Pieretti's keyboards-based power metal, recalling some popular genre acts from 80s, as Swedish band Europe. Unfortunately, recorded sound is flat, only of demo-quality. Because of quite lifeless sound I expect the recording has been down on-line and mixed in studio. Vocals in moments doesn't fit precisely with instruments recording as well.

Song itself is straight-forward piece with some standard for the genre guitars/drums lines and the melody isn't memorable. There are not much prog elements as well (to be precise - not at all). Massimo's conceptual debut album showed some possible capacities, recent single doesn't fulfill the expectations. Hope his next work will offer more.

A New Beginning' is the debut solo album from keyboard player and composer Massimo Pieretti (Shaman's Soldiers, Noage etc). Many musicians used the isolation caused by the Covid pandemic to look closely at themselves, their works and what they wanted to achieve, and in the case of Massimo it was to get his musical ideas out in front of the world, and what better way to do that than with an autobiographical concept album? This consists of 15 tracks through which Massimo demonstrates his point of view on society by reflecting back on his own personal problems and life experiences.

Although he worked with others throughout the crafting of this album, he ensured he was involved in everything from writing of the material through the choice of musicians to work with and was even involved in the mastering. There are 12 singers involved, including Ray Weston from Echolyn, and a total headcount of no less than 30 to bring to life Massimo's vision. The album itself can be broken into three different areas, but the songs are mixed throughout so this may not be immediately apparent. These areas are songs which are personal and autobiographical, those which are experimental and related to his passion for cinema and film music songs, and then there is a trilogy.

What makes this album such a success is not the number of singers involved, nor the quality of the songs themselves, but rather the emotion and passion which is palpable throughout. The layering and complexity are wonderful, with the songs being incredibly diverse and different, so one never knows what is going to happen next. There may be female leads, or male, lush harmonies, or shouted texts which are delivered with incredible dramatic import. This is an incredibly deep album, and it takes time to fully investigate and plumb the hidden depths as there is just so much here to take in. I have seen it mentioned that this is a very Italian album, but I must confess I don't hear that as this is far removed from RPI and to my ears is actually an album with no country of origin as it straddles geographic boundaries and is a fine example of music following where it needs to go as opposed to being forced into artificial constraints to meet the definition or style of one sub-genre or another. Yes, this is prog, but it feels more like a river taking its own course as opposed to being constrained by the walls of a canal.

It is certainly not attempting to pander to any current fashion and could have been released any time in the last 40 years yet does not recognisably align itself with any particular influence but instead has very much its own identity. Majestic without ever being overbearing, this is a classic album which will be enjoyed by many.

A nice debut!

Music might be one of the expression forms we love the most, it embraces us the way we embrace it, so we create a lifetime relationship. This has also happened to Italian maestro Massimo Pieretti (who I thank for kindly introducing me to his music), a man who has found in music a way of life. The last year (2022) he released his first studio album that shares not only his skills as composer or performer, but also his culture as an Italian, and also as a citizen of the world.

This album consists of 15 tracks that make a total time of 45 minutes, of course Massimo Pieretti was the mastermind behind it, but he had a helping hand from a vast amount of musicians, people who shared their talent with vocals, instruments, emotions. So "A New Beginning" starts with 'Intro' which sounds like opening the eyes and see the world, then vocals surrounding you tell you this will be quite a journey. 'Oh Father' comes next, some nice electric guitar riffs appear while keyboards and drums build up the structure. Vocals join and a kind of neo-prog sound appears. There is also a constant orchestral sound, we will find it during the whole record, which is quite nice.

'In November' has acoustic guitar that nicely contrasts with synthesizers, then bass and drums join and we can feel something is coming. Backing vocals appear here and all together make a very comfortable sound, beautiful in some ways, despite there is somehow, a sense of sadness or desolation. The melancholy continues in the beginning of 'Growing Old', but it lasts only for some seconds because then the music changes, creating a bright sensation and even some Marillion feeling. The music and lyrics become emotional, and he and the band transmit it, because after all we can identify with it, with the story.

I like how female vocals take over in 'Is It That Girl Right?', it is also worth mentioning that this is like a book or film in which we see or picture characters, each of them with a voice, with a behavior, all playing a role in our story (or Massimo's story). 'Out of This World' has again female vocals, but it also includes some recorded voices from a speech I believe belongs to Chaplin off from his "The Great Dictator" film. Then it comes an 'Interlude', which is, as you can imagine, the shortest track of the album. It is first a piano piece, but then bass and sax join, creating a Floydian sound.

Have we ever wondered which are the 'Things to Live and Die For'', it is a tough question indeed, but maybe the music here can enlightend us a bit. 'Family and Business' has a rockier sound, and we can listen to a new singer here, which is something I like from this album, its diversity, its characters. The bass and organ work here are great, and then a flamboyant electric guitar appears as well.

A two-part title-track comes next. First 'A New Beginning Part A - Looking for The Best', it sounds like a note to self, because it has some spoken word at first, like looking for the best by looking at the past's mistakes, we always have to learn from our decisions, whether they are right or (mostly) wrong. And 'A New Beginning Part B - The Only Way You Can Be' starts with piano and with a fresh sound, like waking up with a smile aiming to change your life for good.

'I Hope You Will Always Be Here With Me' is an example that this record was composed and recorded with love. The music is nice, the hope and brightness is present and as I mentioned before, we can emphasize and identify with the stages of this story. We are always making questions, having doubts, taking decisions. Life is actually a cause and effect thing. And yeah, the album finishes nicely just as is began, with 'Intro Reprise' which represents what its title suggests.

But surprise. The album might have finished, but it actually hasn't! That reprise opened the gates to two reworks: 'In November' and 'Things to Live and Die For', both with acoustic versions, showing new nuances and feelings.

It might not the most prog rock album ever, but it does have prog elements, it is a conceptual album and we can appreciate it if we want to. Congrats to Massimo Pieretti for this heartfelt debut, and thanks for sharing with us part of your story.

Enjoy it!

Keyboardist and composer Massimo Pieretti's solo debut is first of all very Italian album. It opens with "Intro" - heavily orchestrated cinematographic piece SanRemo fest will be proud of. Conceptual album, recorded during pandemic, is well put together and wins against myriad of DIY-quality releases from the period, recorded online and mechanically constructed from separate tracks on a Lego manner.

There is lot of non-artificial passion and drama in album's music. Lot of vocals (from all the list of guest vocalists) works surprisingly well. Thanks to well-rounded sound and attention to melodies, many songs balance on the border with pop- music, from other hand, it doesn't confront with decades of Italian prog tradition.

For my taste, rhythm sameness and too simple drummers work doesn't help. More various rhythmic structures, more technically complex arrangements and in general, a bit more sharpness and fire would add more life to well played, but a bit too polished music. Still a great music for fans of Big Sound and emotionally colored tuneful songs.

"A New Beginning" is an autobiographical concept album and the first release of Massimo Pieretti. Being a keyboard player, teacher, and composer, this album takes the shape of an opera with plenty of vocals and musicians. It is a personal album with an emotional quality that is rare today. You can quickly get into this melancholic atmosphere of gorgeous melodies with classical, folk, and rock elements always done with taste. The vocal work is an essential part of that music whenever the style is played. The songs are short but you can listen to them as one continuous song that will require more listening to discover the beauty of all this music and the different music textures created by the large amount of instruments. This album takes you on a journey that makes you discover the soul of Massimo Pieretti. I am pretty sure this album will reach many prog fans and music fans in general because it's the kind of album that makes you feel better despite all the things that are going wrong in the world.

Intrigued by the rather effusive review by esteemed colleague Lazland (www.lazland.org), I immediately purchased this hitherto unknown artist from one of my fave cities in the world Rome, home to such fabulous artist/composers as Stefano Panunzi, Alessandro di Benedetti (Inner Prospekt, Mad Crayon ), Vincenzo Ricca (The Rome Prog(j)ect) and drum maestro Davide Guidoni (Daal, Nodo Gordiano among many others). Unfortunately, a combination of whirlwind work issues as well as tons of requests for reviews prevented me to be timely with my promise to do his debut album justice. Truth is that the Prog Rogue guy is more of a turtle and less of a hare (bespectacled or not). Well, since Steve Lazenby did such a masterful job on the background, I won't bore you with my resoundingly similar echo.

Massimo is a highly creative keyboardist from the Eternal City who incorporates all the classic old school elements that make prog so attractive (not to all, as the pop fluff is big everywhere including Italy), namely divine orchestrations, passionate lyrics and vocals, and impeccably cinematic pace as well as instrumental prowess. Nevertheless, we are in 2023 and there is an obvious tendency to include more "modern" enhancements, creating a body of work that is diverse yet still adventurous, personal ("Oh Father" is majestic, as I think fondly of mine daily) and impressive to a wide variety of music lovers. The interlocking pieces are never longer that 4.5 minutes but create a mosaic of flowing sonic themes that fit perfectly, coming across like one long suite, with enough variety to keep the attention span honed. The "comfortable" incarceration of Covid forced millions of artists to toe the line and introspect unwillingly, at times perhaps even painfully for some, and spending what seemed like an eternity into the imaginary hall of mirrors that made up their (and our) daily lives. This is what emerges from the multiple auditions I had with this first release. My grandfather once described to me (11-year-old at the time) that Italy was never a country (except for football) but actually the planet's greatest theatre. A state of multiple cities that each have their own level of drama, comedy, humour, tragedy, hope and passion. Everything is up for argument or debate, from family to politics, cinema, music, design, food, art, sex, war, peace, and fashion, often all at once. It is called life, at the fullest. Massimo here tackles these hallowed themes head on, from parenting, aging, the onset of winter, one's partnership choices, conflict, heartache etc.. Each title has a classical opera example, you can amuse yourself by adding in parentheses, the Four Seasons, Tosca, Aida, la Traviata, Madame Butterfly, etc?

From the opening and cleverly labeled "Intro", one is immediately plunged into the show that is about to begin. "Oh Father" is simply majestic, as I think fondly of mine daily, where a mighty drum beat muscles ahead of a slick guitar lick as the piano emits rivulets of deferential devotion. The singing is emotional, the orchestrations in the background really lighting up the stage, elevating this song into clearly an anthem of the finest order. The next fresco in the mosaic is the chilly "In November", featuring a male/female duet that "really, really, really" shudders in gentle serenity, a coalescence of rolling organ, whirling guitar phrasings and the appealing harmonies that ebb and flow until the final gale of wintry wind ending the piece. Coming across as a perfectly aged Brunello di Montalcino, "Growing Old" is precisely a musical version of that splendid red wine that has unique little earthy tinges in its colour, a wise electronic keyboard introduces a piano lush with understanding and patience, a lead guitar displaying a life's worth of exhilaration, an ode to perseverance and wisdom, an overarching lead vocal from guest Ray Weston takes this lament into the aether beyond. They call it heaven. This track certainly is. Sounding like a cabaret piece, here sung by guest Elena D'Angelo "Is It That Girl Right?" is a most welcome down to earth song about the vagaries of interpersonal relationships, a game that has been playing out since Romulus and Remus suckled on the rescuing and compassionate, she-wolf. "Out of his World " is a more cinematographic rant on politics, with a long female wail before embarking a long sample from the classic Chapin movie the Great Dictator, where soldiers of the world are exhorted to unite in the name of democracy, that sounded spot on in the 1930s but still resonate strongly today in our 'all sides love the fake news thingy' where most if not all politicians are self-absorbed charlatans of one stripe or another. The next "Interlude" serves exactly as that! A well-deserved pause into logic, bass and sax in the narrow spotlight. Sounding like a future Bond movie title, "Things to Live and Die For" is not at all a thriller, more like a very American elegiac sounding cry on the sad state of their Union, a land once of hopeful milk and honey, where confusion and fanciful bad taste opinion seem to presently rule. The music is cleverly quite progressive in that it has contrasts and shadows. To perhaps prove the point, the raucous "Family & Business" is a tempestuous affair, where heavy organ rolls and thunderous guitar riffs combine to express vividly the rage at the incredibly primitive stupidity we are forced to consume, in all facets of our modern lives. From the ensuing quiet after the chaos, a 2-part title track reflection is a welcome crowning achievement. After such a long, life altering bunker life style that still did not make people read more that a sentence (err.. what's a book?), what else can there be hope for but some kind of glorious salvation, a new beginning, a better direction, where inspiration and truth can replace bland common-ism and opinions. These themes are expressed vocally, lyrically, and instrumentally with utter conviction. But is there anyone listening? Does anyone care? Well, the lead guitarist does, if one is to listen to his solo! "I Hope You Will Always Be Here with Me" recalls the famous last words of Steve Jobs who for the record as well as history books (oops, I meant tweets) stated: "True happiness does not come from material things, but from the love given to us by our loved ones. So, I hope you understand that having friends or someone to talk to is the true happiness!". The lead vocal from guest Kate Nord is simply killer stuff, as if the power of her love could slay all the CGI-fed false images that serve only to further desensitize the human race. So, what does Massimo do now? Back to the beginning and start anew. Another "Intro Reprise", followed by acoustic versions of "In November" and "Things to Live and To Die For" with the clearly set goal of redefining this new beginning and taking the same good message but with a different delivery. Certainly, a better option that delivering the same tired message over and over.

Massimo is already working on a sequel entitled "The Next Dream", investigating the world of visions and those we meet in the night. I look forward to it and so does Laz I am sure. Actually, we both always do look forward.

4.5 original launches