Detto, fatto. is a collaborative EP by Gemitaiz and MadMan, released on 30 November 2012 through Honiro Label and Harsh Times. Its seven-track standard edition captures an early stage of a partnership that would become one of the most recognisable in Italian rap. Following their 2011 mixtape Haterproof, the project gave the duo a compact official release built around their shared enthusiasm for intricate rhymes, forceful performances and tightly controlled flows.

The attraction lies in the contrast between the two rappers. Gemitaiz brings a rougher, more conversational delivery, while MadMan’s sharply articulated passages give their exchanges a different texture. Both can accelerate through dense sequences of syllables, but their distinct voices keep the performances from blending into one another. Across the EP, their chemistry makes technical ability feel like a dialogue: each verse creates an opportunity for the other rapper to respond with a different rhythm or emphasis.

The production brings together contributions from Shablo, DJ Nais, Denny the Cool, Ombra, DJ 2P, Don Joe and PK. This range of producers gives the short release several different settings while leaving the vocals at the centre. The title track establishes the project’s direct approach, while songs such as “Non cambio mai” and “Baci al cianuro” offer further entry points into the duo’s early catalogue. The concise running time keeps the focus on individual performances rather than an extended album concept.

Ensi joins the pair on “Antidoping”, adding another distinctive voice to a record already driven by verbal agility. His appearance fits the EP’s emphasis on the craft of rapping, expanding the exchange without distracting from the central partnership. The limited guest presence also gives Gemitaiz and MadMan room to establish their own balance, allowing listeners to become familiar with the differences in their phrasing, tone and approach.

In retrospect, Detto, fatto. forms an important bridge between the duo’s mixtape beginnings and the larger audience they would reach with Kepler in 2014. It also predates Gemitaiz’s debut solo studio album, L’unico compromesso, making it a useful introduction to his music before that breakthrough. The EP documents a partnership already taking shape: two individual rappers whose contrasting deliveries and shared technical ambition gave their collaborations an identity of their own.

L’unico compromesso is Gemitaiz’s debut solo studio album, released on 28 May 2013 through Tanta Roba. Arriving after years of underground recordings, mixtapes and his early partnership with MadMan, it introduced an already experienced rapper to a wider audience. Its eighteen tracks bring together the technical confidence of his earlier work and a more structured album format, giving space to both competitive performances and personal reflection.

The record’s central strength is Gemitaiz’s delivery. His voice has a rough, immediately recognisable quality, and he moves between rapid passages and more measured phrasing without losing the conversational character of his writing. Dense rhymes are an important part of the appeal, but so is the way he communicates frustration, uncertainty and determination. The opening “2013 – Accendila” and closing “Nevermind – Spegnila” frame the project, giving its varied material a clear beginning and ending.

Tracks such as “Quando mai”, “Fuori di qua” and the title track establish an artist negotiating his place in music while holding on to the identity he developed outside the mainstream. Elsewhere, “La testa mia” and “Mondo spaccato” contribute to the record’s more inward-looking side. The writing moves between self-assertion and unease, allowing the album to convey ambition without presenting success as a simple answer to everything that troubles its narrator.

The guest appearances connect Gemitaiz with several different strands of Italian hip-hop. MadMan joins him on “Pistorius”, carrying their established partnership into his solo debut, while Salmo appears on “K-Hole”. Ntò contributes to “Occhi di vetro”, Ensi and Bassi Maestro feature on “Forever True”, and Sercho joins “Winners&Losers”. These collaborations broaden the range of voices while leaving Gemitaiz firmly at the centre of the project.

The production provides different settings for his performances, balancing harder beats with more atmospheric passages. That variety suits a rapper whose appeal depends on both momentum and mood: some tracks foreground the energy of his flow, while others give his words more room. Across the album, the relationship between rhythmic precision and emotional directness helps distinguish his approach from a purely technical showcase.

Reaching number three in the Italian album chart, L’unico compromesso marked an important step from underground recognition to national visibility. It established the starting point of Gemitaiz’s solo studio catalogue without erasing the mixtape background that had built his audience. Heard alongside his later releases, the album already contains several lasting features of his music: agile flows, an unmistakable vocal tone, close creative partnerships and writing that moves readily between confidence and vulnerability.

Kepler is the first full-length collaborative studio album by Gemitaiz and MadMan, released in May 2014 through Tanta Roba. Following the mixtape Haterproof and the EP Detto, fatto., it expanded an established partnership into a sixteen-track project. The record brought their underground reputation to a wider audience, reaching number one in the Italian album chart and becoming a defining release in their shared catalogue.

The album’s appeal rests on the differences between its two protagonists as much as their similarities. Gemitaiz’s rougher tone and conversational phrasing contrast with MadMan’s crisp articulation and tightly packed rhythmic patterns. Both favour elaborate rhymes and changes of pace, but their distinct deliveries give the exchanges variety. Together, they turn technically demanding passages into performances with momentum, allowing each rapper to establish his own presence within the same track.

“Non se ne parla” introduced the project with a direct, assertive performance, while “Haterproof 2” explicitly connected it to their earlier work. Songs such as “Blue Sky”, “Sigarette” and “Diario di bordo” provide further points of entry into the album, which moves between forceful declarations and more reflective passages. Across these different moods, the duo retain the close interplay that had already made their previous releases distinctive.

The guest appearances broaden the record’s range. Coez contributes to “Instagrammo”, bringing a melodic contrast to the duo’s verses, while Guè joins “Sempre in giro”. Jake La Furia appears on “Eutanasia”, and Clementino features on “Drama”. Jay Reaper of the Dutch group Dope D.O.D. adds an international presence on “Black Mirror”. Each collaboration introduces a different vocal character while preserving the central role of Gemitaiz and MadMan.

Musically, Kepler gives the rappers room to move between harder performances, darker atmospheres and more accessible hooks. Its broader palette allows their partnership to sustain a full album rather than simply extend the approach of their earlier EP. The balance between individual verses, shared tracks and guest contributions keeps the record varied, with melody providing contrast to the dense verbal construction that remains one of its main attractions.

Kepler established Gemitaiz and MadMan as a successful recording partnership alongside their individual careers. Its chart performance and subsequent platinum certification demonstrated that their technical approach could reach beyond the underground audience that first supported them. The album also set an important precedent for their later reunion on Scatola nera: two distinctive solo artists working together with a chemistry strong enough to give their collaborative records an identity of their own.

Nonostante tutto is Gemitaiz’s second solo studio album, released on 22 January 2016 through Tanta Roba. Its sixteen tracks followed his debut L’unico compromesso and the collaborative album Kepler with MadMan. The record brought his personal voice into sharper focus, balancing the intricate flows that had established his reputation with more reflective writing and memorable hooks. It became an important step in his development from an underground favourite into an established national artist.

The album moves between determination and vulnerability, with Gemitaiz’s distinctive delivery connecting its different moods. His verses can be densely constructed and rhythmically demanding, but their impact also comes from his tone: weary, defiant or emotionally exposed as the song requires. Rather than maintaining the competitive intensity of a collaborative rap showcase, he gives individual thoughts and feelings more space, allowing the record to develop a more intimate character.

“Bene” and “Scusa” became particularly recognisable songs from this period, showing how effectively he could combine direct language with an immediately engaging performance. Elsewhere, “Forte”, the title track and “Non lo so” offer different shades of his solo identity. The sequence stretches from the opening “Intro” to the closing “Domani”, with moments of confidence sitting alongside uncertainty and reflection. This emotional range gives the album substance beyond the technical precision of its verses.

The guest appearances place Gemitaiz alongside several established voices without overwhelming the personal focus. Fabri Fibra joins “Fammi fuori”, while Guè appears on “Ce l’hanno con me”. MadMan contributes to “Preso male”, bringing their familiar chemistry into a different album setting, and Emis Killa features on “Non me ne vado”. Dutch group Dope D.O.D. add another vocal texture on “N.F.C.N.B.”, extending the record’s collaborative reach beyond Italy.

The music accommodates both forceful rap performances and more atmospheric passages, giving Gemitaiz room to vary his pace and emphasis. Melody plays an important supporting role, helping the songs remain accessible without displacing the verses. That balance also carried into the album’s live presentation, with Gemitaiz performing alongside a band during the accompanying tour. Later in 2016, the Reloaded edition expanded the project with additional material, remixes, rarities and live recordings.

Nonostante tutto reached number one in the Italian album chart and became one of the central releases in Gemitaiz’s catalogue. Its importance lies in the way it brought together his existing strengths while developing a more rounded solo identity. The verbal agility remained, but the emotional openness and stronger song structures gave listeners further reasons to return. It established a foundation for the increasingly personal approach he would continue on Davide.

Davide is Gemitaiz’s third solo studio album, released on 20 April 2018 through Tanta Roba. Its fifteen tracks followed Nonostante tutto, continuing his development as an artist able to combine intricate rap performances with more personal, melodic songs. By choosing his own first name as the title, Gemitaiz placed the person behind the stage identity at the centre of the project, bringing together different sides of his writing rather than presenting a single, narrowly defined mood.

The opening sequence of “Paradise Lost”, “Fuori” and “Oro e argento” establishes his distinctive voice and rhythmic confidence. His delivery remains agile, with changes of pace and densely constructed rhymes, but the album also makes room for more measured passages. The contrast between outward confidence and inward uncertainty gives the record much of its character, allowing forceful performances and reflective moments to sit alongside one another.

The title track, featuring Coez, became one of the defining songs of Gemitaiz’s career. Its melodic appeal offers an accessible entry point into his music while preserving the emotional directness of his verses. Elsewhere, tracks such as “Chiamate perse” and “Lo sai che ci penso” contribute to the album’s more intimate atmosphere. These songs show how his recognisable phrasing can communicate vulnerability as effectively as it delivers a technically demanding verse.

The collaborations bring several different personalities into the project. Guè appears on “Tanta Roba Anthem”, connecting the album to the label that helped establish Gemitaiz’s solo career, while Fabri Fibra joins him on “Pezzo trap”. Achille Lauro contributes to “Keanu Reeves”, and MadMan features on “Holy Grail”, carrying their established partnership into another chapter of Gemitaiz’s solo catalogue. Priestess adds a further vocal contrast on “Alaska”.

The production balances direct rap beats with more atmospheric and melodic arrangements. Mixer T and Frenetik&Orang3 are among the contributors, providing settings that accommodate both the precision of Gemitaiz’s flow and the emotional weight of his writing. The record closes with “Buonanotte”, completing a sequence that moves through different energies without losing the central presence of its narrator. The deluxe edition also paired the album with QVC Collection, linking this new material to the mixtape recordings that had helped build his audience.

Davide consolidated Gemitaiz’s place among the major names in Italian rap, reaching number one in the Italian album chart and going on to achieve multiple platinum certifications. Its lasting appeal comes from the balance between recognisable rap technique and songs with a broader emotional reach. Rather than leaving his earlier identity behind, Gemitaiz developed it into a more varied solo statement, with the title track becoming a particularly enduring expression of that approach.

Scatola nera is the second collaborative studio album by Gemitaiz and MadMan, released on 20 September 2019 through Tanta Roba and Island Records. Arriving five years after Kepler, its twelve tracks reunited two artists who had continued developing their individual careers. The project retained their intricate rhyme patterns and contrasting deliveries while introducing a broader melodic range, giving their partnership a different character from its earlier recordings.

The opening “Fuori e dentro”, featuring thasup, immediately introduces the album’s combination of agile verses and distinctive guest voices. Gemitaiz’s rougher phrasing contrasts with MadMan’s precise articulation, allowing their performances to remain recognisable even when they share the same production. Their chemistry is particularly effective when the rhythm shifts between verses: each brings a different emphasis, making the exchange feel like a conversation between two established personalities.

The collaborations give the record much of its variety. Salmo joins “Esagono”, while “Fiori” brings together Marracash and Guè. Mahmood contributes to “Karate”, Venerus appears on “Che ore sono”, and Priestess features on “Un’altra notte”. These different voices expand the album’s expressive range, placing the duo’s technical approach alongside more melodic and atmospheric performances.

The title track, featuring Giorgia, is a particularly clear example of that wider musical ambition. Her vocal presence creates a contrast with the rappers’ verses, giving the song a character distinct from the more competitive performances elsewhere. Across tracks such as “Come me”, “Californication” and “Tutto ok”, the album also makes room for personal concerns and relationships. The result is a project that accommodates both the precision of the duo’s delivery and songs shaped around mood, melody and emotional tension.

“Veleno 7”, released ahead of the album and placed at the end of its tracklist, reconnects the project with one of the partnership’s most familiar traditions. Its concentrated exchange of verses foregrounds their control of rhythm and rhyme, offering a forceful conclusion after the record’s more varied collaborations. The track became a major streaming success, demonstrating the continuing audience for the technical interplay that had helped establish Gemitaiz and MadMan together.

Scatola nera reached number one in the Italian album chart, confirming the strength of their partnership beyond the success of Kepler. Its significance lies in bringing their established chemistry into a broader musical setting, with guests who contribute different approaches to singing and rapping. The album captures two experienced solo artists returning to a shared project with more possibilities available to them, while preserving the contrasting voices and rhythmic precision that made their collaborations distinctive.

Eclissi is Gemitaiz’s fourth solo studio album, released on 13 May 2022 through Tanta Roba and Island Records. Its thirteen tracks arrived four years after Davide, with the collaborative album Scatola nera and the mixtape QVC9 appearing in between. Developed during the pandemic period, the record gives considerable space to solitude and emotional uncertainty, combining Gemitaiz’s recognisable technical delivery with atmospheric production and a varied selection of collaborators.

The opening “Adesso” leads into “Ciao Baby”, establishing the album’s balance between rhythmic confidence and a more reflective mood. Gemitaiz’s voice remains central throughout: rough in texture, conversational in phrasing and capable of moving quickly through tightly constructed verses. Here, that agility serves songs that often feel inward-looking, with changes of pace giving particular thoughts and emotions room to register.

The title track features Neffa, whose contribution connects Gemitaiz’s contemporary sound with an artist whose career spans both Italian hip-hop and soul-influenced songwriting. Elsewhere, “Rollin’ Pt. 2” revisits a familiar thread from Gemitaiz’s catalogue, while “Silenzio”, with MACE, adds another atmospheric setting. These different approaches give the album variety without disrupting its underlying sense of introspection, allowing melody and production to carry part of the emotional weight alongside the lyrics.

The rap collaborations provide some of the record’s sharper contrasts. MadMan joins “Top”, bringing the duo’s established interplay into Gemitaiz’s solo setting, while Sfera Ebbasta appears on “Pornstar”. Noyz Narcos contributes to “Pochette”, adding his unmistakable vocal presence, and A$AP Ferg features on “Jorge Lorenzo”, extending the guest list beyond Italy. Each collaboration introduces a different energy while leaving Gemitaiz’s personality at the centre.

The production moves between harder beats and more spacious, melodic passages, creating room for both assertive performances and moments of hesitation or vulnerability. Rather than maintaining a single level of intensity, the album allows its mood to shift as different voices enter and leave. That flexibility suits Gemitaiz’s approach: his phrasing can hold together a direct rap track, but it also works within arrangements where atmosphere and restraint are equally important.

Eclissi reached number one in the Italian album chart, continuing the commercial success of Gemitaiz’s previous solo releases. Within his catalogue, it stands as a concentrated statement from an artist comfortable bringing technical rap into a more reflective musical setting. Its thirteen-track structure keeps the project focused, while the combination of familiar collaborators, international guests and melodic contributions gives it a distinct identity alongside his mixtapes and joint records.

Elsewhere is Gemitaiz’s fifth solo studio album, released on 12 December 2025 through Tanta Roba, Columbia Records and Sony Music Italy. Following Eclissi and the mixtape QVC 10, its seventeen tracks present an artist continuing to broaden his musical approach. The project brings together intricate rap performances, melodic contributions and carefully developed arrangements, with Gemitaiz’s distinctive voice providing continuity across its different sounds.

The opening “L’Altro Mondo”, featuring Mathilde Fernandez, introduces the record before the title track brings Gemitaiz into focus on his own. Throughout the album, his delivery moves between tightly packed rhythmic passages and more spacious phrasing. That flexibility allows the songs to develop at different speeds, giving room to atmosphere and reflection alongside the verbal precision that has remained central to his music since his early mixtapes.

The rap collaborations connect familiar creative relationships with the album’s wider musical setting. Salmo joins “Old School”, alongside DJ 2P, while MadMan appears with Venerus and PK on “Lacrime”. Neffa and Ele A contribute to “Dancing With The Devil Pt.2”, bringing different generations and vocal approaches into the same song. These encounters give the record variety while preserving the sense of a project shaped around Gemitaiz’s own musical interests.

Melodic voices also play an important role. Coez appears on “Brother & Sister”, renewing a partnership familiar to listeners from the title track of Davide, while Meg contributes to “La Notte”. Rather than using every collaboration in the same way, the album accommodates contrasting voices within different arrangements. The movement between rapping and singing helps create changes of mood across the tracklist, expanding the emotional range available to Gemitaiz’s writing.

The production credits underline the collaborative construction of the record. MACE contributes to tracks including “Flowman”, “Pensa” and “<3 <3”, while Frenetik&Orang3 work on “Non Mi Scende”, “Niente Di Meglio” and “Hangover Pt.2”. “Time Machine” brings together Joshua, Danno, Mixer T and STABBER, before “Apatia” closes the album. Across these different combinations, the music gives Gemitaiz opportunities to vary his delivery and explore textures beyond a single prevailing rap sound.

Within his catalogue, Elsewhere continues the exploratory side of his studio albums while retaining connections to the collaborators and techniques that helped establish him. Its breadth comes from the interaction between the verses, guest performances and production, with each contributing to the character of individual songs. The result is a substantial chapter in Gemitaiz’s solo career, balancing the confidence of an experienced rapper with an ongoing willingness to develop his sound.