THE NEXT DREAM

Having met Massimo in Rome a few years ago, I was immediately taken by his resolute focus on his craft, a clear musical vision and the willpower to make it happen. He is definitely a doer and not just a thinker, as purpose and creativity that propel him constantly forward. His debut was met by critical acclaim and last year's live album garnered even more attention. But now comes crunch time, as "The Next Dream" is exactly what the title implies. Julius Caesar may have worn a crown of laurels, but Massimo does not rest on his, getting a wide variety of local and international collaborators to help him with his new endeavour. Moon Letters singer Michael Trew is here, as well as Laura Piazzai, Dominic Sanderson, Kate Nord and Germana Noage along with magical super-lung vocalist Claudio Milano, guitarists Jean-Luc Payssan (Minimum Vital), Peter Matuchniak and Nick Fletcher, saxophonist Rob Townsend and John Hackett whose bloodlines need no introduction, and drum maestro Mattias Olsson are helping Maria Chiara Rocchegiani, Lorenzo Cortoni, Amy Breathe and Marco Ragni (vocals), guitarists Roberto Falcinelli and Luigi Pistillo, Mirko Rovina (percussion), Marco Lo Muscio on church organ, violinist Lisa Green, and cellists Mauro Cipriani and Gianni Pieri to fill out the EXTENSIVE cast. Eleven tracks, some of which were previously released as singles, videos and teasers, are gathered together to solidify the scope of the album. Releasing new material first live and then studio, now that is cool!

"Come Heavy Sleep" arrives as a celestial aria (Rocchegiani) , setting the tone for the musical theater that we are about to witness, Massimo showing his neo-classical/symphonic background to perfection. Both John Hackett's flute and Rob Townsend on sax decorate the arrangement with a very British flair, an adaptation of the Renaissance composer John Dowland fine piece of the same name. What a colossal beginning !

The two part "Creatures of the Night" suite offers the listener a wider and deeper canvas of emotional attraction. Lead vocalist Germana Noage really lays into her expertise with an overwhelming demonstration of control and tone, proclaiming all the lavish rudiments essential to be irrefutable. Decorate that with some tasty Cozzetto fretwork and you've got one hell of a track to linger on. Two colossal tracks form the stuffing of the 4-song suite ,"Get in Line" is an absolute stunner, and it features one of my current pet musicians, namely Warr guitar master Mark Cook, who can do no wrong in my book. I won't dilly dally here, this is perhaps the finest track Massimo has ever composed, as it supplies a complete package of bliss, the vocal duet of Marco Ragni and the already applauded Germana is off the charts dazzling, the orchestrations sensually a propos, an arching bass swirl and the twirling lead guitar finale are both heart stopping. Massimo carved a melody to match, and the end result is celestial. "The Chinese Witch" shows Massimo stretching the progressive level to loftier heights, a tour de force of creativity, concentrating particularly on the vocal harmonics side of arranging, that never wavers along its 7 minute + flight time. Opulent piano settles the foundation on which the female voices (Nord and Rocchegiani) get to build up the melodic tension, telling a story that incorporates a Chinese folk song. It flows majestically along, increasing symphonics elevating the pomp, a vocal operatic masterpiece of the highest order. A perfect and marvelous follow-up to the previous revelry. "I Dreamed of Flying" suggests a gentler approach to eventually finishing off the night. This is a uniquely precious piece, initially a duet with piano and voices (Trew and Breathe) , augmented with some orchestrations. a tune of delicate fragility that cracks open like an eggshell, bursting with excited resonance. An acoustic version will finish off the album later on. The spookier second part of "Creatures of the Night" is a huge highpoint, as the twin guitarists get to let their strings do the singing within a distinctly urban temperament that is quite perceptible, just like when the sun sets and the night crawlers emerge out of their lairs, you just know that there is going to be adventure of some kind to behold. Its raunchier material comes as a most welcome heightening of all the amassed tension. Imaginaerium's Laura Piazzai (another current flavor of mine) belts out her notes like a rocking opera diva, full of power and passion, taking no prisoners. Supremely gifted Nick Fletcher showcases his guitar skills, adding fuel to the vocal fire, bass rumble (Allen), and violin(Green) screech not withstanding.

Just like at the Scala in Milan, the intermission brings down the crimson velvet curtain, time to redecorate the stage and let the audience refresh themselves before tackling the next section.

Just like Massimo to keep the pedal on the accelerator (he drove me around Rome a few years ago, and I was well strapped in because he drives, well, ?like a Roman =pazzo). On the utterly lyrical "Alone", the American duo of Cook and Matuchniak nevertheless match the theme with instrumental prowess of the highest quality. Solitude in an ocean of humanity can be quite the hard pill to swallow.

Michael Trew takes the microphone eagerly on "The First Time We Met", a genuine recollection of those wonderful first impressions that can never be forgotten, the voice smooth as silk, as if hushed in hallowed respect. Perhaps the most accessible song on the set list but, it's just perfecto! Lest we forget, Italy has an ingredient found in all of their cuisine that consolidates its reputation : amore. The romantic in me is fulfilled. A superb song with scintillating piano work, in particular . Grazie maestro!

The longest piece here is the title track, "The Next Dream" and it features Dominic Sanderson, prog's new wunderkind by all accounts, on both intense and despondent lead vocals, sharing the duties with Kate Nord, who can also belt out with the best of them, in a gigantic section of music that travels through various sonic regions, from the romantic and adventurous to the tumult of big city angst and bombast. Cook shows up again with his stringed monster, supported by the legendary Mattias Olsson on the drum kit, they both steal the show instrumentally, with a delirious performance, and a torrent of blistering notes and fills.

Showing the impressive ability to concentrate on of prog's most well documented weaknesses, the vocals on this album are perhaps some of the finest anywhere in 2025. Expertly composed, arranged, produced and delivered by Massimo Pieretti, it is fair now to boldly state, that you have arrived , amico mio! Capolavoro!

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