Max Gazzé
Maximilian

As I already wrote for the previous album, over time Gazzè seems to improve like a fine wine. Even with Maximilian, he has raised and brilliantly surpassed the bar of his singer-songwriter career, composing what, in the writer's opinion, is his most successful album. Not a trivial feat considering his twenty-year career.
The artist himself reminds us that after the last few years of frantic commitments, between albums, solo tours, and collaborations with friends Fabi and Silvestri, he had decided to take a break from the mainstream to retreat into writing music alternative to his traditional canons. Then suddenly, perhaps unexpectedly, came the pop songs, and I add, with that magic that only the fervor of inspiration can provide. And listening to the album, so rich in melodic ideas, one is almost surprised at this intact capability of his. There are still remnants of the initial experimental attempt, particularly in the final cinematic track Verso un altro immenso cielo, centered on a piano phrase and orchestral openings; but also in the little gem In breve, an intertwining of baroque guitar and chalumeau framing a solemn commentary on a news story. The rest is a pure concentration of Gazzé, with some more conventional tracks like Sul fiume and Nulla, which seem like stylistic exercises on already trodden melodies, and the very inspired pop tracks mentioned above. The first single La vita com'è, already known to all, echoes and improves on the march approach of Sotto casa, adding a bittersweet flavor derived from a far from light text. It is evident that Gazzé's current spirit, supported by his talented brother Francesco in the lyrics, is that of a mature man trying to navigate through very complicated family and sentimental matters, resulting in a credible and convincing manner.
The opening track Mille volte ancora is a further effort to approach, at least stylistically, the unattainable myth of Battisti/Panella, very beautiful and successful, although the genius of the author from Poggio Bustone remains unreachable for mere mortals. Un uomo diverso and Ti sembra normale mark the card of absolute catchiness and stand as potential successful singles. But the real gems of the album are discovered in the dark Disordine d'aprile and the intense Teresa. The first, written and sung with the emerging artist Tommaso Di Giulio, offers a skewed and metaphorical view of a love story where the man plays the victim's role. The second seems to echo it, but with roles reversed: Teresa is an ex who, beyond the ironic twist constituted by the song itself, seems to have left very little significant to her partner. Two tracks where the painstaking work of osmosis between text and music reaches remarkable heights.
Therefore, once again, I find myself applauding Gazzé with conviction and reinforcing his leading position in my personal view of the Italian music scene, where he remains one of the most intelligent and inspired authors. We are left, therefore, to wait for the next album, with the certainty that it will once again be a pleasure to listen to.