Yes, we did it again. Truth be told, while we were still working on the first album, we were already tinkering with new ideas. Thinking ahead was exciting—it didn’t just feel like closing a chapter, but opening a new one at the same time.
Second Experience is an album with even more variety than before. This time, we gave more space to our individual musical influences—completely different from each other—while staying true to the same method: voices and bass as the backbone, binding harmonies, melodies, and rhythm together.
We also experimented with a new mixing approach, breaking the process into multiple stages. This made everything much smoother, and the vocals now have a more defined space in the mix. Lyrically, some songs are more refined and introspective. We consciously worked on the arrangements with the goal of creating precise musical sensations, making sure that each track’s atmosphere was as deliberate as its lyrics.
We had a great time shaping the arrangements to create a sense of natural movement—themes that return subtly, then fully, then slightly transformed. The idea? To give each song its own breath, its own flow, a structure that evolves rather than simply repeats.
And then there’s the final track: “Tutto Profuma di Te.” This one has a story of its own. We debated over it a lot, put it aside multiple times, unsure of what to do with it. It was actually one of the very first ideas we exchanged at the beginning of our collaboration. Back then, it was just a concept: a bossa nova-style bassline, played as if it were a classical bossa guitar. Unusual, to say the least.
Frank loved it and wrote a beautiful Italian lyric for it. GMA, on the other hand, was convinced it should be played and arranged without following the typical bossa nova style. In the end, we did absolutely nothing. We left it exactly as it was.
What you hear is the original recording—unfiltered, unpolished, and just as we first imagined it.