Q: Can you tell us a bit about yourself and how your childhood impacted your musical direction?
A: I was a very curious, restless kid, quite solitary; that led me as an adult to travel the world and never really feel satisfied. I looked for balance first in places, then in forms and sounds — that’s why I started painting, then sculpting and taking photos. I had a very ordinary childhood in Apulia, under the sun of Grottaglie, where small-town life is definitely happier than in its provincial capital, Taranto, scarred on the horizon by the steel industry and a chronic lack of work.But we all carry that concrete monster — that industry — inside us; the album’s post-atomic setting takes its cue from that blast furnace.
Q: Can you describe the musical style of Piergiorgio Corallo in three words?
A: Deep, changeable, and rock in the truest, hardest sense
Q: How do you stay connected with your fans, and what role do they play in shaping your musical journey?
A: I’m a very reserved person, so I owe everything to the support of the people who have followed me and still do. In the end this album is coming out almost “by request” from those who heard the demos or the live shows. Otherwise the work would probably have stayed in a drawer, and I would have left it to my visual art to say something about me.
Q: You have just released your new album, ‘In via di sviluppo’. Is there a story behind it?
A: Yes. I’ve been writing songs since I was a kid, and I think of them as a kind of personal legacy to leave behind — I don’t necessarily compose for sharing. During an event in Sofia tied to an award for one of my paintings, the organizers chose to play one of my amateur tracks they’d found online as background music. I didn’t know; hearing the audience humming along in the room gave me the push to release the album.
Q: What is your favorite track from the album and why?
A: “Non si vede,” which opens the album, comes first in the sequence because it’s a manifesto for what I want to do next. With catchy, electronic-tinged rock, I want to reach for people’s depths without too many detours. I’d like listeners to recognize themselves in what they hear — in the end I’m telling the obvious, the everyday things we sometimes don’t dare to say
Q: Can you walk us through the creative process of producing the album, “In via di sviluppo”?
A: The album is entirely written and composed by me. The process changes depending on the moment: sometimes a bass line comes to mind and everything is built around it; other times I start from the lyrics, but that feels more forced to me and doesn’t flow as well. The core of the songs is the guitar, and even in the electronic tracks the guitar and bass lead everything else. For this album, the instruments were recorded in studio takes with musicians I’ve met over time, except for the digital parts in the electronic/dance songs and some audio from live recordings at events — for example, the orchestral parts in “My guitar in the Orchestra.”
Q: What has been the most memorable concert or performance for you so far?
A: Along with other Apulian artists, we took part in an offshoot of the anti-war event “Per la pace — Live contro le guerre,” held on October 23, 2024 at the Unipol Forum in Assago, Milan. Seeing people with such different styles come together was wonderful.
Q: Reflecting on your body of work, each song holding its unique significance, could you share a particular track that stands out to you personally? What makes that specific tune special, and why does it hold a place of pride in your musical journey?
A: I think “Erase her name” is the most intimate song on the album, and it’s not actually about a woman. What needs erasing are all the events that limit us or hurt us. I like it because, judging from early feedback, it seems I managed to convey the idea of rebirth after any disappointment. The structure underlines how, even in the album’s post-atomic setting, there’s always hope and the possibility of finding a good path — the final, slightly melancholic piano represents memory, the scar
Q: Exploring the diverse creative processes within the music industry is always fascinating. Could you provide insight into Piergiorgio Corallo’s unique approach to crafting music? From the initial spark of an idea to the finished song, how do you navigate the creative journey and bring its musical concepts to life?
A: In every song I try to bring in the other art forms I practice. The words I choose and the images in the album follow a clear design, as if it were wood to carve — my favorite material. Some tracks were born alongside paintings and have a “sculptural,” multifaceted writing. In particular, a series of paintings called “Gli Uomini” inspired the songs “Non si vede” and “Sto perdendo il controllo,” the rock-punk backbone of the album.
Q: As we wrap up our conversation, looking ahead, what aspirations or dreams do you have for yourself, and what message would you like to share with your fans as they continue to accompany you on this musical journey?
A: I can only sincerely thank everyone — including you — for the affection I’m receiving, truly. Looking ahead, the warm reception of this project will help a bear like me consider releasing another one. My wish is to make a very hybrid electronic rock-crossover album and take it around the world with a super-band of Apulian artists — angry, but with a good heart. We’ll give it a shot
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