Interview with Gianluca Firmo of Room Experience and Firmo.
Interviewed by David.
In 2015 a new project was unveiled under the name Room Experience and fronted by the one and only David Readman of Pink Cream 69 fame. Most of us likely heard of this album and purchased it due to the inclusion of David, who was certainly the calling card for the record. But behind that entire album was an unknown man, a new face to the genre, who wrote every lyric and note that we heard on the album. Proving he was capable of writing music that was impressive enough that it could make a man of Readman’s considerable talents sign on to the record, the album released and with it the melodic rock world was introduced to the name and music of Gianluca Firmo.
Over countless chats about music, movies and life, Gianluca and I have become friends. He is an absolute gentleman who possesses a great sense of humor and a great taste in music and he could not be a more humble chap.
When I heard that he had a solo album in the works than I wrote him and asked about the possibility of securing an interview to talk about his career up to Room Experience, his life since that release, the release of his first solo record and even a tidbit on the sophomore release from Room Experience. He kindly agreed to sit and chat with me and it was a blast.
Below you will find the conversation that took place.
MMR: Thanks so much for taking the time to speak with me, Gianluca. So let me just go back to the beginning briefly and ask how you got into music in the first place?
GF: Hi, David. Well, if we really have to go back to the beginning it’s a long way to when I was just a child and my uncle, who is a renowned teacher, taught me some piano. I wasn’t a good student though, also because piano lessons are not as charming as a soccer match in the sun with your friends.
But that’s just how it all started cause I’ve been breathing music all of my life, through my family first and by myself later. I’ve always been a greedy listener of everything that pleased my ears. Then in 1986, ‘Slippery When Wet’ and ‘The Final Countdown’ were released and won the war against Madonna’s ‘True Blue’. I guess that’s the year when I decided that there was no music that was better than rock.
After all the listening, it came as a natural desire the will to create something mine and so I started writing and singing my own songs, using that little knowledge of piano I had.
MMR: Well I am a Bon Jovi nut and Europe are one of my favorite bands ever so I know exactly what you mean when you say that hearing those two seminal records really put you on the path towards listening to rock ‘n roll. They definitely helped to shape my love of, not only this music, but music in general.
Now, when did you first decide you wanted to take those songs you had written and try to create a record?
GF: It was only in 2013, after more than 20 years of making songs, that I started thinking about recording a real record.
I first met Davide Dave Rox Barbieri at one of his live shows and after that we stayed in touch through Facebook. So it happened that he heard a few of those songs and after talking with his “partner in crime”, Pierpaolo ‘Zorro’ Monti, we all met and decided to start a project based on my songs and produced by them. It turned out to be Room Experience, which was released in 2015.
MMR: Well thank God for that! The Room Experience record was, no, I’ll correct that, IS a fantastic album and you wrote some excellent songs on that project.
So, you told us how that Room Experience project came together, but on that record you had one of the premier vocalists of the genre singing, so how did you and David Readman come in contact and how did he come about getting on board to provide vocals for it?
GF: Well fact is that songs were already written and sung by myself, but my voice is not so versatile and sure doesn’t have a very wide range. Working on a professional record, the first thing was to find somebody who could deliver all the songs we chose to re-record. We narrowed down the list to very few names and thought David has the perfect skills to deliver both powerful songs like ‘One Way Out’ and soft ballads like ‘The Only Truth’ and all that was in between.
Alessandro Del Vecchio was already in charge to mix and master the album AND at that time David was his bandmate in Voodoo Circle, so we asked him to put us in contact with David. David wanted to listen to something before choosing to be on board, of course. We sent him ‘One Way Out’ and ‘Run To You’ and in no time we started working together. We can say that we had a very good feeling from the very start!
MMR: Well no album can go wrong with having David on vocals. What a powerhouse! And a nice chap as well. I have been such a huge fan of his since I first heard him after he took over vocals for Pink Cream 69 after Andi (Deris) left. Just an amazing vocalist.
Well how did it feel for you coming out of relative obscurity and having one of the most well-known vocalists of the genre sign on to sing your songs on your very first record?
GF: It’s not relative obscurity. It was total darkness I came from haha! Well, it felt awesome, of course, but also strange. I guess every songwriter has a way of “hearing” his own songs that’s different from everyone else’s. On one side there was one of my favorite singers singing my own songs, and it amazed me. On the other side I was worried that his way of “hearing” the song could be too far from mine, so with each song I was very curious and worried about his performance and inside my mind I was thinking if it was appropriate that a “Mr. No One” like me could tell one of the greatest singers around how he should sing a certain song.
In the end I didn’t need to ask him anything, he perfectly got the mood of every song and took it to the next level. Let me give a big shout out for David about this; many singers use songs just to show how good they are and they ruin the feeling of a song cause in the end they always sing the same way. David, instead, poured himself into every song in order to improve it. It’s incredible how, if you listen to the record, depending on the song, in his voice you can hear echoes of David Coverdale (‘Another Day Without You’) and Elton John (‘The Only Truth’), but still it’s David and his very personal way of singing. I believe not every singer, regardless on how talented he is, can do this.
MMR: That is awesome, man. I don’t know how the songs sound without David attached to them, but he definitely did a superb job with them. Of course he always does a superb job on everything he sings!
So you come out of nowhere, release your first album with the help of some big names in the genre and proceed to make some waves throughout the melodic rock world with the record. How has life changed for you since releasing the Room Experience album in 2015?
GF: Oh since then I’m bothered night and day by Playmates who ask me out. It’s stressing!
MMR: Hahahaha! I hear you, man. I can hardly leave the house without being chased down by them myself, so I feel your pain! Welcome to the hell that is my life! Haha!
Nah, no big changes in my life.
I always say that whoever chooses to make our kind of music, nowadays, is choosing to play for a bunch of friends, not for an undefined audience. I don’t know how the situation is there in the United States but here in Europe, after a while, you get to know personally the most of people who like this style and when I refer to people who listen to my music it’s easier for me to call them friends instead of fans. Of course big names play for a bigger bunch of friends, but take a step out of melodic rock and people hardly knows even about big names.
Music changes all the time, new styles come along and what once was mainstream soon becomes old fashioned. It’s always been like that. Rock ‘N Roll of the sixties, disco dance in the seventies, AOR in the eighties, grunge in the nineties, shit hop, rap and all that stuff after 2000, every style had its decade of glory and then survived just for a few lovers that still play or listen to that. Or survived through some deep crossover with mainstream styles, with very few exceptions. That makes life hard for those who want to be full-time musicians, but that’s it. If you’re not a band coming from the golden era you have to work double hard in music just to make a living out of it. That’s where melodic rock is now and if you keep things in perspective you can have a lot of fun with all the new friends you make along the way.
Music is not my main occupation, but it’s one of my biggest passions so I guess that the only thing that changed is that when I write a bad song more people than before are aware of it and I’m “forced” to work professionally on everything I release now.
MMR: I have never thought of it that way but that is a great way of looking at it. And it is very true. We are a relatively small genre with a small community of fans and even here in the US when going to see some of the classics like Firehouse, Tom Keifer, etc. I have noticed that I see some familiar faces at each show. I am sure when it comes to the modern melodic rock bands that it would be even more so the case. I see a lot of the same names around on different sites, fan pages, artist pages and forums for this genre, so you are exactly right when choosing to look at it in that light. I like that, man. We don’t get a lot of chances to see melodic rock bands over here due to the lack of interest in the genre. Actually let me rephrase that, the lack of KNOWLEDGE about the genre. I don’t think it is so much that people don’t like it, but that they do not know it exists. Most people I play any of it for like it. Anyway, we don’t get many chances to see the bands over here unless you can afford to go to Melodicrock Fest, which a lot of us are not able to do that due to tickets, travel, lodging costs, etc.
So, moving on from that, your first solo album is set to release on October the 19th. What made you decide to release a solo record at this point?
GF: Basically this comes from my passion from music. I like to write different stuff and not everything fits the style of Room Experience. And besides, I just love singing much more than playing keyboards and that’s what I have always done before recording a professional record.
Once again I could say that recording a solo record to me it’s just having the chance to let a larger number of friends listen to my music.
Also I wanted to test myself on other levels than mere being the songwriter and the arranger. This gives me the chance to work shoulder by shoulder with some great musicians in the studio a bit like in the older days and learn from them, to improve my ideas and let people know about my music. For example, I call myself out of the loudness war and over-compressed sounds. I personally couldn’t care less about how loud a record can sound while instead I prefer to focus on very full, even redundant, arrangements. Every choice in music shows a point of view and despite the fact that the final result is always a compromise, being in charge for everything in this record allowed me to go in a very personal direction.
As I’ve already said, this record is far from being perfect and in time I’ll find more and better ways to get my vision through, but for now and for sure this record sounds very Gianlu-ish. I actually have to thank my label very much about this chance ‘cause they supported my freedom to work and didn’t deny me the chance to make even unusual choices. That means very much for an artist.
MMR: It gives you the chance to branch out and do your own thing. I get it, man. Nothing wrong with that at all.
Well you mentioned the label so let me jump to that question real quickly. The solo album is releasing on Street Symphonies Records, your first with them. How did you end up hooking up with Stefano, Oscar and the guys over there for the record?
GF: That really was the easiest thing on Earth. I walked out my door and crashed my nose into their sign. Almost literally.
I met Stefano (Gottardi) from Street Symponies years ago at a music festival and we became friends. When he heard that I was planning to record and release a solo album him and Oscar (Burato) offered me their support and cooperation in order to release it. The studio and the label are in my hometown and run by friends, so it was an easy choice.
After that they even started expanding the label and created a music group with 4 labels and a lot of different services to support the artists. So I guess I can say it’s been a very lucky choice for me to have the chance to work with them. Hope they will be able to say the same one day!
MMR: Very cool! So it is being made and produced amongst friends. That is awesome, and probably a lot of fun.
So the new album is called ‘Rehab’. What inspired this title?
GF: Well…I love to talk about music with my friends and I enjoy it very much because I love to hear different ideas that everyone brings in. But when it comes about making music I always get the feeling that things are on a rut. You get the same answers from everyone about what works and what doesn’t, about which sounds are too dated or which ones are too modern. About which bands are essential and which bands are not, and I often find out that those bands are not essential for me. That those dated sounds are good for me and so are also those sounds that are too modern. So I thought, I want to make MY album. It has to be free from every boundary. It has to be MY idea of music, MY idea of sound. Not because I am better but just because it’s me and if people like the album it has to be because they like MY music and not my imitation of a popular idea of music.
I’m not trying to be different at any cost, I just want to keep it personal. It’s a rehab from every given truth if you want to put it this way.
Besides, I thought it was also a good title for the record because everyone needs rehab from something. Everything we do, every day, tends to become some kind of addiction. Some people drink, some do drugs, some overwork and some get lazy. We’re responsible for our own vices and whatever is the vice you choose, at a certain point it starts stealing your own life. You waste time over it till you realize you need to find a rehab to really live your life to the fullest. In the end, living it’s the chance of a lifetime.
MMR: Very well said. I couldn’t have said it better. And I agree, it is a great title for the album! Great song as well! (You can see the lyric video for it by clicking here).
Speaking of that song, would you be kind enough to take us through each track and tell us a little about the songs?
‘A Place For Judgement Day’:
Even if I play keyboard, it is not unusual that I build a song around a guitar riff that suddenly starts playing in my mind, this is what happened here. I had the initial riff stuck in my head for days so I built the chorus around it. It’s the opening song of the record because of its theme. It simply says that we don’t know how long we will be here so we have to do everything we can to achieve what we believe is right. And when Judgement day will come, we will be judged for the choices WE made and not the choices someone else made for us.
In a single sentence I could explain it like this; dare to be yourself.
‘Heart Of Stone’:
I just know that this one puts me in a very good mood. Was written a long time ago and it’s funny to look at the lighter side of love. I had to change a big part of the lyrics because I was just out of my teens when I wrote it and the lyrics were a bit childish. Now they are still childish, but with a more mature approach! Ha!
‘Shadows And Lights’
One of my favorite songs of the record. I had this melody in my mind and each time it made me think of a hotel room at night. The sense of longing for someone far away. In general it’s a very relaxing song, but I love the contrast that loud guitars and choirs bring in the chorus. I also love the fact that, despite that it sounds quite easy, the chord sequence in the chorus is pretty atypical and required guitars overdubbing to get the right harmony.
Inspiration came from a moment in my life when I was overwhelmed by a lot of different situations happening all together to people around me. I found myself in the middle without wanting it and I really needed to put down some positivity in words to keep the right perspective on life. Music wise I tried to make a crossover between rock and eighties pop.
Sometimes you need a bit, or a lot, of anger to overcome delusions. I’ve just put down in words the feeling when you are tired to try to understand why things went wrong.
‘Didn’t Wanna Care’
‘Didn’t Wanna Care’ is about the moment you surrender and realize you’re in love, afraid to lose the chance but at the same time afraid to grab it. It’s a tender song with bittersweet feelings in a very serene mood.
It’s some kind of motivational song. It doesn’t matter how hard life can hit you as long as you don’t give up and stand to fight with all your strength. Basically it’s my reaction when I hear people who complain about their situation but do nothing to change it. It’s not always luck or fate’s fault. If you give up, you don’t deserve more than you have. I guess this is how far my political and social visions will ever go in a song. I don’t like political or social oriented lyric.
‘Don’t Dare To Call It Love’
The silly moment of the record I guess. Like ‘Heart Of Stone’, it’s a look over the lighter side of relationships, but this time with macho attitude which is not really mine. But I guess all of us feel like that somewhere in our life. If even just for a moment and even if you regret the thought the second after, there are moments where we would like to be free from every kind of relational chain.
‘Cowboys Once, Cowboys Forever’
Plain and simple, it’s a song about real friendship, lasting through the years, through the miles and all the changes that life force you through. And that happens when you manage to stay true to yourself, to your dreams and to the people you love.
Another happy mood song. My vision of life, somehow. If you take it too seriously you’ll never be able to enjoy it cause you can make all the plans you want, but life will never respect them. So along with your everyday duties, always find your moments of rehab, to feed your soul with the things that really make your heart beat faster and louder.
‘Until Forever Comes’
This one was originally written in Italian, but I tried to tell the same story in English cause it was an image that I had very clear inside my mind. Some things that once made you cry later are able to bring smiles when they become memories. A flood of memories is stronger when it happens because you meet someone you haven’t seen in a very long time, at the same time you still believe in old dreams and know that they won’t have a chance to come true. You can find a smile inside the good memories of what you had, or giving up to the sadness for a lost dream. I’m not living in the past so I usually smile to good memories.
I wrote it for someone very dear to me in a moment when she was feeling down. I tried to put myself in her shoes and describe the feeling of those moments when you feel lost without someone you love. At the time when I was the song I saw a movie, ‘Blue Car’ the kind of movie I hardly watch, and in the dialogues there was this wonderful sentence; “Lost leaves spin past the glass, but trees don’t move”. I quoted it in the lyrics because I thought it perfectly represents that feeling. You may learn how to let go of tears, leaves, but the reason why you cried will never really go away.
MMR: Wow, thank you so much for taking the time to talk about each one like that. I always love hearing what the artist’s inspiration is behind a song. Obviously music speaks to everyone differently and what one song may mean to me it can mean four different things to four different people, so it is always fun to hear what the artist was actually thinking when they wrote a song.
The solo record is quite different in style from the Room Experience album. Did you purposefully write differently for this album as opposed to Room Experience or did you just write and this is what came from it?
GF: Somehow I’ve already replied to this one here and there in previous questions but here I’m going to try to make the answer more complete.
It is, of course, a different approach for a bunch of reasons. First, it’s me singing and not David. I don’t have his skills, not his range and even less I don’t have his power, so it would make no sense to make a record in the same direction.
Also Room Experience sounds like that because production is handled by Zorro and DaveRox and they help me giving it a well-defined direction. Everything in ‘Rehab’ is different from Room Experience, apart from the fact that I’m the songwriter. My singing is all but technical and ‘Rehab’ is meant to deliver a more intimate feeling. I didn’t go for a punchy sound and even the upbeat songs, which are more than in the first Room Experience, are meant to be something you will, hopefully, like to sing along with or dance to but not meant to break the walls of your neighbor’s house.
I tried to fill up the arrangements with loads of parts, lower the general volume and let the instruments breathe out of compression. So there are a lot of details one can focus on, if you can resist to multiple listenings.
All the musicians have been awesome on this and they used their immense skills to build the sound I had in mind.
The track list is a mix of old and new songs, but even the old ones have been rearranged from scratch and, for once in my records, keyboards have been the last instruments recorded.
MMR: Well you did a marvelous job on it, man!
You have a group of familiar names for melodic rock fans that joined you in helping to make the album, will you tell us a bit about which artists are involved with you on the record?
GF: Oh there are many, yes. Besides the regular line-up, which includes Davide Barbieri, Nicola Iazzi, Mattia Tedesco and Daniele Valseriati, I had the pleasure to be working with some very talented friends as special guests. Those include Paul Laine for the backing vocals of ‘Heart Of Stone’, Mario Percudani (Hungryheart, Hardline) played guitars in ‘Didn’t Wanna Care’ and ‘Cowboys Once, Cowboys Forever’, Stefano Zeni (Wheels Of Fire) played additional guitars in ‘Rehab’, ‘No Prisoners’ and ‘A Place For Judgement Day’ and Pier Mazzini (Danger Zone) who played keyboards on ‘Didn’t Wanna Care’. The other guests are not familiar with melodic rock as they usually play other styles, but I loved the idea that their different attitude could add a touch of something different. They are Alessandro Moro, who played sax in ‘Didn’t Wanna Care’, Carlo Poddighe, who played some additional guitars on a few tracks and Andrea Cinelli who played the piano in ‘Everything’.
There are a couple additional guests for the Japanese release, but let’s keep the secret about them just a little longer.
MMR: Wow, you really did have a group of folks helping out. But damn, what a gathering of talent there!
Now the sophomore Room Experience album is going to be releasing in the not too distant future, will David be involved once again?
GF: Yes, of course. I consider Room Experience a band and I’m not keen in changing the basic lineup of bands. I guess this question is quite normal since people tend to consider as bands only those who have a live activity in opposition to studio projects that, for a bunch of reasons, will hardly be able to put on a tour. But both have to get in the studio to make a record and in the studio musicians make a difference. The same songs performed by different musicians could dramatically change.
To me Room Experience makes sense if David is on vocals, Zorro plays drums, Dave and I share duties on keyboards and I do the songwriting, with some contribution from Zorro and Dave. For the second record Simon Dredo joined the band as bass player, in the first record a few ones were involved, and if you never heard about him you’ll be amazed by his playing.
If one or more than these guys should change I would at least change the name of the project because it might be worse or it might be better, but for sure would not be Room Experience anymore.
MMR: Excellent! That is great news, I love his voice and can listen to that guy sing all day! Just an amazing vocalist.
Okay, so you said that the first Room Experience album came about from songs you had previously written so let me ask, will the follow-up take from your songs again or have you written new ones just for the project?
GF: All new, baby! Well….almost. Two songs were written before and I haven’t included them in the first record only for the sake of a better balanced track list.
MMR: Awesome! I can’t wait to hear it all!
Well then a follow-up question to that. This time around, knowing that you have David singing for the album, did you try to write and tailor your songs just for his voice or did you just do your thing and write the songs?
GF: All the others are new and are written with David’s voice in mind. Three to four tracks were co-written with Dave and Zorro. Don’t ask me if I think that Room Experience chapter 2 is going to be better than the debut, I like very much the songs on either, but I never compare songs to others. Each one has its life and deliver its feeling. For sure there are less mid-paced and ballads in the new one.
MMR: Well I am a huge lover of ballads, as you know, but I do love some nice, rocking songs also, so I see no problem with having more of those as opposed to being ballad heavy.
So, who are your biggest influences as a songwriter?
GF: Ha! There’s at least a quite obvious name at the top of the list, Jon Bon Jovi. But I could say Richie Sambora, Desmond Child, Joey Tempest, Bruce Springsteen, Jon Oliva, Per Gessle of Roxette, Don Henley and Pierluigi Giombini, who wrote ‘I Like Chopin’, one of my favorite songs of all time. There are so many, depending on the style of the songs.
For sure as a lyricist I would want to be like Jon Bon Jovi or Bruce Springsteen.
MMR: Well, as you are fully aware, I am just a Bon Jovi super fan, as unpopular as that may be these days among rock fans. Perhaps that is why I like your music so much, great taste in music attracts the same! Haha!
And the rest, Sambora, Tempest…actually Europe are one of my all-time favorite bands as well, so again, great taste!
Well, moving on, as far as listening to music, who are some of your favorite artists and bands?
GF: I have to repeat myself with the names in the previous question. My main influences come from the music I like the most. I could add plenty of bands though because I love to listen to a lot of different stuff. Bon Jovi, Europe, The Eagles, Bryan Adams, Iron Maiden, Savatage, Skid Row, Helloween, Roxette, Abba, Cinderella, Alice Cooper in the 80s, Edguy, Rondo Veneziano, Mozart and Chopin, Paul Laine, though I guess I’ve already named him quite a few times. Gottard, Journey, Def Leppard. You better stop me cause I can go on for hours naming favorite artists and bands, and after I would start with the bands and artists that I really really like, but we are just a step below my favorites!
MMR: Haha! I am right there with you, dude. I love so much it is hard to narrow it down, but you named some amazing artists. I heard you say Edguy which is cool because I think Toby (Tobias Sammet) is an absolutely superb songwriter, composer and singer. Though I must admit that I tend to like Avantasia more than Edguy. And Gotthard, hell yes! Seriously, Steve Lee was one of the best vocalists out there. Such a sad, heart-wrenching loss. That guy had such a great voice and could pack so much emotion in it.
Okay, time to make you think, now. What are your top 3 albums and why?
GF: Not really much to think here, instead since I also have to explain why. Bon Jovi albums could easily occupy all three positions with ‘Slippery When Wet’, ‘New Jersey’ and ‘These Days’, but I’ll leave them out of the ranking for the sake of the game.
My top three always features, in no order,
Helloween – ‘Keeper Of The Seven Keys Part 2’ because all of the songs on that album are amazing and Michael Kiske and the band delivered an album that was so fresh in metal. Powerful, epic but also funny and ironic, which are sometimes forbidden feelings in metal, I always love a good laugh instead and I want to wear yellow t-shirts at shows!
Skid Row – ‘Slave To The Grind’. Again, because the songs on offer are all amazing and very different. Sebastian Bach delivers crazy vocals and, more than all above, because when I’m angry or nervous for whatever reason I just need to put on that album and sing along with Seb. There’s so much power in it that it calms me down every single time, it’s amazing.
Europe – ‘The Final Countdown’ because it changed my life, musically. Since I was 13 and I was blown away by the song ‘The Final Countdown’. And, again, not a single song which is less than perfect on this album.
Let me name a fourth which could share a place with each of the above, Savatage – ‘Streets (A Rock Opera’. It’s an emotional album from start to end!
MMR: Well, damn! That is some fine music there, sir. I can’t argue with you over any of those, man! And you sound like me, I could make my top five list solely out of Bon Jovi titles. I’m not very popular these days! Haha! But ‘Slave To The Grind’, my god what an album! Bas’ vocals on there were insane!
Anyway, I could talk and talk all day long about music, as you are fully aware, so I am going to go off the music path for a minute here. We talk quite often and so I know you are quite the movie buff like myself. You particularly enjoy horror films. When did you first get interested in that genre of film?
GF: I like horrors and thrillers because usually they are filled with mystery. I’m not disturbed by splatter or gore effects, but that’s not what attracts me in a good horror movie. I like suspense, unexpected changes of the plot and mystery.
I believe I got interested in horror when I first saw the movies from Dario Argento, especially ‘Profondo Rosso’ and ‘L’uccello Dalle Piume Di Cristallo’. I was a child and those movies scared me to death, ‘Profondo Rosso’ still does if I watch it alone on a rainy night! Lol. Anyway, I loved being scared, in a way, and I loved to try and guess who the killer was.
Put all this together and you have why I love this genre. But I have to say good horror movies are not very common today. Nowadays they are all about making you jump on the chair with sudden, loud sounds and sudden images appearing in front of your eyes. No real suspense. Few good stories.
Speaking of good horror movies from last years, I would sure name ‘Sinister’ and ‘Insidious’.
MMR: I have seen ‘Sinister’ and ‘Insidious’, but you lost me on those others. I am not disturbed by the gore in the films, it is fake after all of course, but I find that too many films are going the heavy violence/gore route instead of trying to make a good film, just going for the shock value, which I don’t like. I just want a good film with a good storyline and preferably a great twist.
So what is your favorite horror film franchise?
GF: For reasons I have already explained about why I like horror movies, I have to say I’m not a fan of franchise because even more you lose the surprise and the sense of unknown. But if I have to choose I’d go for ‘Halloween’. The franchise of ‘Friday The 13th’ is good to watch with chips and beers, but never really scared me. I’ve always considered it more funny than scary.
MMR: All classics, of course but I agree, not really scary.
Alright, time to think again. What are your top 3 favorite films?
GF: This is harder than the one about the albums. I’ll go with the first three that I love and that come to my mind.
‘Meet Joe Black’, ‘Exam’ and ‘La Casa Dalle Finestre Che Ridono’, an Italian movie, very scary.
MMR: Wow, now there is a title I didn’t see coming! I have to admit that I like ‘Meet Joe Black’ as well though.
‘Exam’ I have seen but the other one is new to me.
Well, Gianluca, I certainly appreciate you taking so much of your time to talk with me and answer these questions. One last one and I will finally let you go! Lol.
As someone who has fairly recently found your way into the industry professionally, what is the best advice you can give to a new band or artist trying to get their music out there and heard these days?
GF: I’m not good enough or expert enough to give advice to anyone about this except to follow the advices of someone you trust. So choose wisely who you trust.
There’s not a recipe to be heard, so I’ll just say what is true for me. Keep things in perspective and don’t strive to be heard. Don’t work thinking about what people may want to listen to. Don’t treat music like a product, put your passion in YOUR record and make it sound the way you want it. It has to be good for you and represent who you are. If people like your taste they will notice. And if it’s not what people want to hear, well…you still have done something you can be proud of.
What would be the purpose of being liked for someone you’re not? Money? Then you’re not making music anymore, you’re making business.
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