I sat down with Logic Pro without a clear plan. I just wanted to have fun.<\/p>\n\n\n\n
I had it in my head What a nuisance!<\/em> Of Finger in the wound<\/strong> \u2014that cutting electropop irony, those social complaints transformed into a chorus\u2014and I asked myself, \u201cWhat if I put a distorted guitar on top?\u201d Answer: it turns out amazing.<\/p>\n\n\n\n Then it was the turn of Arisa<\/strong>. Magical Tale<\/em>, an intimate and vulnerable ballad, has transformed into a piece of epic metal <\/strong>with an almost theatrical drama. The contrast was so powerful it seemed studied. It wasn't. (Under revision\u2014let's just say my level of self-criticism is inversely proportional to the speed of publication.)<\/p>\n\n\n\n Finally the Rag Dolls<\/strong> with Stay with me<\/em>: that pop-punk energy was already asking to be pushed further. I gave it my all. And then Patty Pravo<\/strong> \u2014 Opera<\/em> \u2014 which in version metal ballad<\/strong> It sounds like it's always meant to be heard this way. (This one's also undergoing artistic revision. Never mind.)<\/p>\n\n\n\n The first two are on the channel for now \u2014 Stay with me<\/strong> e What a nuisance!<\/strong> \u2014and that's already enough to understand where this project is going.<\/p>\n\n\n\n METALIZER<\/strong> This is the name I gave to this musical experiment that has become, despite itself, a brand. A YouTube channel with an absurd and precise mission: to take the songs of the Sanremo Festival<\/strong> \u2014 the national-popular ones, the ones you hear in every bar and on every radio \u2014 and rewrite them in a key heavy metal, funky metal or progressive metal.<\/strong><\/p>\n\n\n\n The playlist is called #Sanremetal. The goal is to reach thirty covers, one per week.<\/p>\n\n\n\n It's not about mocking the original songs. On the contrary: to make a credible metal cover, you need to thoroughly understand the harmonic structure of a song, understand where the true emotion lies, and find a different way to amplify it. Metal isn't the negation of pop: it's an alternative language for expressing the same emotions with more distortion and less autotune.<\/p>\n\n\n\n Because Sanremo is the opposite of metal. It's the festival of Italian melody par excellence, the place where pop songs appear in tuxedos. And the contrast\u2014between the lightness of the Ariston and the wall of sound of a distorted guitar\u2014is generative. That's where something interesting is born.<\/p>\n\n\n\n There's also a practical reason: Sanremo songs are highly sought after immediately after the Festival. Anyone searching for "Bambole di Pezza Sanremo 2026" on YouTube might stumble upon a heavy metal version they weren't expecting at all. And that surprise\u2014that involuntary click that leads to a full listen\u2014is exactly what I want.<\/p>\n\n\n\n The process has a secret weapon that I am not ashamed to confess: Moses<\/strong>. For those unfamiliar with it, it's an AI tool that separates a song's audio tracks\u2014vocals, drums, bass, harmonies\u2014with astonishing precision. I use it as an analytical listening tool: stripping a song down into its layers helps me understand its true emotional structure, before rebuilding it from scratch in Logic Pro. It's like performing a musical autopsy and then resuscitating the patient with a couple more distorted guitars.<\/p>\n\n\n\nWhat is METALIZER?<\/h2>\n\n\n\n
Why Sanremo?<\/h2>\n\n\n\n
How a METALIZER cover is born<\/h2>\n\n\n\n