MASSIMO ZAMBONI :: IL RESTO DEL CARLINO’S INTERVIEW ABOUT THE NEW ALBUM P.P.P. PROFEZIA È PREDIRE IL PRESENTE

MASSIMO ZAMBONI :: IL RESTO DEL CARLINO’S INTERVIEW ABOUT THE NEW ALBUM P.P.P. PROFEZIA È PREDIRE IL PRESENTE

Zamboni’s Interview about Pasolini: Interview published in the newspaper Il Resto del Carlino, conducted by Lara Maria Ferrari, titled: *Massimo Zamboni, new album on Pasolini “a unique intellectual.”* The interview pertains to Massimo Zamboni’s new musical project, *P.P.P. Profezia è Predire il Presente* (Prophecy is Predicting the Present), released on January 31, 2025. The article was published on February 17 and is also available online at the following link HERE.

To pre-order the CD album + streaming:
https://go.rizosfera.org/massimo-zamboni 

Massimo Zamboni’s P.P.P. new album   :. Here’s the link for the Rizo-page

More than an album, a literary work transposed into music. More than songs, chapters that retrace and reconstruct a unique and controversial story, both precious and dramatic. The story of one of the greatest Italian intellectuals of all time, Pier Paolo Pasolini.

P.P.P. Profezia è Predire il Presente is the new album by Massimo Zamboni, set to be released on Friday, January 31, by Le Vele – Egea Records, in a special CD edition with a DVD-format digipack containing a 32-page booklet.

A multifaceted and richly textured album, reflecting the soul and thought of Pier Paolo Pasolini, to whom it is dedicated on the 50th anniversary of his death. An album imbued with the profound civic pain that incessantly accompanies P.P.P.’s journey as a man and intellectual, who was able to prophesy and perceive the dramatic and wrenching transformation of Italy.


Born from the homonymous reading-concert project that alternates songs, readings from Pasolini‘s works, and texts written by Zamboni, P.P.P. Profezia è Predire il Presente is composed of thirteen tracks: folk songs, a tribute to Giovanna Marini, pieces drawn from Zamboni’s extensive musical journey, and three unreleased tracks (La rabbia e l’hashish, Cantico cristiano, and Tu muori). These lead listeners through an increasingly dark, almost desolate path to accompany Pasolini’s thought and the ultimate cessation of his reflections.

A multifaceted, elusive Pasolini emerges—one who faced irreparable, inhuman animosities and fierce isolation. Yet, even today, 50 years after his murder, we cannot overlook his intelligence, that piercing gaze capable of slicing through reality like a laser, offering glimpses of profound compassion, Zamboni concludes.

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