After the elektronische experimentation of “Stati emozionali” (launched in exclusive preview on the international magazine It’s Psychedelic Baby), here it comes back SOLO with a new single that, from the 50’s of his previous work, drives us to 60’s psychedelia: “Don't shoot the piano player (it's all in your head)”.

«I’ve always been a fan of 60’s psychedelia: those out of the box sounds and atmospheres have fascinated me since forever. It’s only natural for me to write a song drawing inspiration from those textures, rolling out to the “psychedelia factor” by adding spatialisation of binaural kind, in such a way that the sounds wouldn’t just go right to left (and vice versa), but totally wrap the listener».

Sources of inspiration for the drafting of “Don't shoot the piano player (it's all in your head)” are to be found in both “Revolver” by The Beatles and “The Piper at the Gates of Dawn” by Pink Floyd, up to The Rolling Stones psychedelic turning point.

«While writing “Don't shoot the piano player (it's all in your head)” I was thinking about “Their Satanic Majesties Request”, by Rolling Stones, album that I loved and I wore out, in my teens: for me the highest point of their career, no matter what their detractors might say. Little by little, I managed to include ever more psychedelic elements which have, later on, driven the work towards a direction closer to the sonic frenzy in “Tomorrow never knows” by The Beatles».

“Don't shoot the piano player (it's all in your head)” takes its cue from a surreal imaginary where, next to classic instruments use, sound effects are superimposed, destabilizing the listener, projecting him into a psychotic world:

«Unlike “Tomorrow never knows”, where the sounds used by The Beatles were prerecorded samples, edited to suit the occasion, in “Don't shoot the piano player (it's all in your head)” I wanted to keep a more “live” approach: all sounds found in the song are, in fact, recorded starting from a guitar. I’ve taken pleasure recreating peculiar sounds, all different from each other, by using the Ebow as well as a whole range of pedal effects that go from synths to Whammy, to phaser and delay (sending it in self-oscillation), wah wah and so on and so forth, using them in a not necessarily canonical way, giving rise a marasmus of acoustic deliriums».

The song has been entirely recorded by SOLO, with the assistance of Edoardo Di Vietri from Hexagonlab Recording Studio for the piano addition, as well as mixing and mastering:

«In addition to voice, guitars and bass, I’ve recorded percussions too by myself, in a rather peculiar approach, making use of glasses (I stole the idea from “Sing this all together” by Rolling Stones), pots, spoons, boots as well as other objects which would give me a percussive sound. The piano, instead, has been included by Edoardo Di Vietri, with whom I had already collaborated both with my band, The Bordello Rock ‘n’ Roll Band, and on “Stati emozionali”: he also dealt with the mix and the mastering of the song».