Salmo
Artist: Salmo
Real Name: Maurizio Pisciottu
Born: 29 June 1984, Olbia
Roots: Olbia, Sardinia
Active since: 1997
Style: Hip-hop blending hardcore rap, rock and electronic music.
Debut album: The Island Chainsaw Massacre (2011) ↗
Biography
Salmo is the stage name of Maurizio Pisciottu, a rapper, producer and performer born in Olbia, Sardinia, on 29 June 1984. His musical identity grew from an unusually broad background: alongside his early interest in hip-hop, he played in bands exploring metal, hardcore punk and other heavy sounds. Those experiences helped shape an approach to rap built around forceful delivery, distorted textures and the energy of a live band.
He began recording his first rhymes as a teenager, developing his skills through local groups and self-produced demos. Before reaching a national audience, he worked with bands including Skasico, To Ed Gein and Three Pigs’ Trip. This period gave him experience beyond the microphone, laying the foundations for his work as a producer and for the physical intensity that would become a hallmark of his concerts. It also encouraged him to treat musical genres as materials to combine, an instinct that has remained central to his career.
His emergence as a solo artist brought a distinctive combination of hardcore rap, electronic bass and rock influences into the Italian scene. A move from Sardinia to Milan helped widen his audience and professional connections, but his musical character remained rooted in the independent spirit of his early years. His sound could move between dense, abrasive production and more restrained passages, giving him room for both aggressive performances and introspective writing.
Dark humour, provocative imagery and abrupt changes of mood became recurring features of his work. Beneath the confrontational surface, his lyrics also explore insecurity, personal struggles, pressure and the contradictions of success. His delivery can shift from rapid, tightly controlled verses to shouted passages or melodic phrases, making the voice itself part of the music’s changing atmosphere. That range has helped him reach a broad audience while retaining the rough edges that first distinguished him.
Salmo also helped establish Machete, the collective and label associated with artists such as Hell Raton, Slait and Nitro. Its collaborative projects created a platform for emerging talent and brought together rappers and producers with different styles. His role within Machete made him an influential figure behind the scenes as well as a successful recording artist, contributing to a creative network whose impact extended beyond his own releases.
Live performance is central to his career. Working with musicians allows him to bring the weight and unpredictability of rock concerts into his rap shows, with arrangements that give familiar songs a different character on stage. His performances draw on years spent in smaller venues, where intensity and a direct connection with the crowd were essential. On 6 July 2022, he became the first rapper to headline a solo concert at Milan’s San Siro stadium, a milestone in his journey from Sardinia’s underground circuit to the country’s biggest stages.
Visual presentation is another important part of his identity. His use of masks, unsettling characters and imagery drawn from horror complements the darker elements of his music, while his involvement in directing videos gives him a role in shaping how that music is seen. His creative work also extends to television, including acting and soundtrack work for the Sky series Blocco 181.
Across these different activities, Salmo has maintained a recognisable identity: restless, confrontational and willing to experiment. His career connects the independence of underground music with the scale of a major recording artist, with hip-hop remaining the foundation of a sound that continues to draw from several musical worlds.
Albums
Released in 2011, The Island Chainsaw Massacre is Salmo’s debut solo album. It introduced a sound that brought rap together with distorted electronic production and the aggression of his background in heavier music. Rather than following a single established style, the record moves between hip-hop, dubstep, drum and bass and rock influences, giving his early work an immediately distinctive character.
Salmo’s delivery is central to that combination. He switches between tightly controlled verses, shouted passages and changes of rhythm, treating his voice as another part of the production. Dark humour and grotesque imagery run through the writing, matching the abrasive beats and unsettling atmosphere suggested by the album’s title and artwork.
Tracks including “Il senso dell’odio”, “Rancho della Luna” and “Yoko-Ono” capture different aspects of this approach, combining confrontational performances with an interest in unexpected sounds and arrangements. “Back on Track”, featuring Enigma, adds another voice without interrupting the record’s strongly individual identity.
The album’s rough edges are part of its appeal: it documents an artist testing how far rap could be pushed towards the electronic and alternative music that shaped him. The Island Chainsaw Massacre established the mixture of technical ability, provocation and experimentation that Salmo would develop across his later releases.
Death USB, released in 2012 through Tanta Roba, is Salmo’s second studio album. Following The Island Chainsaw Massacre, it pushes his sound further towards electronic production, with distorted bass, sharp synthesizers and aggressive rhythms supporting his forceful delivery. The energy of his rock and metal background remains, but the electronic elements take a more prominent role.
The album is a compact, confrontational record, moving between dark humour, frustration and criticism of the music industry. “Il pentacolo” presents the record business through sinister imagery, while “Negative Youth” explores disappointed ambitions and a bleak view of everyday life. Tracks such as “Demons to Diamonds” and “Death USB” underline his willingness to take Italian rap into harsher, less conventional territory.
Salmo handles most of the production himself, with contributions from DJ 2P, Fritz da Cat and Belzebass. This gives the album a strong personal identity while allowing different approaches to its electronic sound. Short and abrasive, Death USB captures an artist still experimenting, building on the impact of his debut and developing the musical personality that would become central to his later work.
Midnite, released on 2 April 2013 through Tanta Roba, is Salmo’s third studio album. Its 13 tracks develop the mixture of rap, electronic music and rock aggression heard on his earlier releases, while introducing a broader range of moods. Heavy bass and abrasive beats sit alongside more restrained passages, giving greater space to his storytelling and introspection.
“Russell Crowe” captures the album’s explosive energy, while “Rob Zombie”, featuring Noyz Narcos, brings together two distinctive voices with a shared taste for dark imagery. Other guests include Nitro on “Space Invaders” and Gemitaiz and MadMan on “Killer Game”. These collaborations strengthen the record’s connection to the Italian rap scene without diluting Salmo’s individual style.
Beneath its confrontational surface, Midnite also explores ageing, disillusionment and personal uncertainty. “Old Boy” offers a more reflective perspective, while “S.A.L.M.O.” demonstrates his ability to command a more traditional hip-hop setting. The shifts in pace make the album more varied than its aggressive opening might suggest.
Midnite debuted at number one on the Italian album chart, marking an important breakthrough in Salmo’s career. It brought his uncompromising approach to a wider audience and showed that his sound could develop beyond the initial impact of his first two records.
Hellvisback, released on 5 February 2016, is Salmo’s fourth studio album. Its 13 tracks bring together rap, electronic production and the rock influences that have shaped his music from the beginning. The sound is fuller and more varied than on his early records, with forceful rhythms, melodic passages and changes of pace giving his distinctive delivery room to develop.
The autobiographical single “1984” provides one of the album’s central moments, connecting personal memories with the energy of his musical background. “Il messia” features vocals from Victor Kwality and drums from Travis Barker of Blink-182, who also appears on “Bentley vs Cadillac”. These contributions strengthen the connection between hip-hop and live rock instrumentation that runs through the record.
Alongside its aggressive performances, Hellvisback makes space for reflection and atmosphere. Salmo moves between confrontational verses and more measured passages, maintaining the dark humour and unsettling imagery associated with his earlier work. Production contributions from Low Kidd, Big Joe, Stabber and Shablo help broaden the musical palette while keeping his voice at the centre.
The album’s visual identity also forms part of the project. Its deluxe edition includes a comic illustrated by Fr3nk, extending the record’s imagery into a separate narrative. This combination of music and illustration makes Hellvisback a particularly distinctive chapter in Salmo’s catalogue, showing his ambition to build a world around an album as well as a collection of songs.
Playlist, released on 9 November 2018 through Sony Music, is Salmo’s fifth studio album. Across 13 tracks, he expands his mixture of rap, electronic music and rock influences with more melodic hooks and contemporary trap production. The record moves between aggressive performances and more accessible songs, keeping his distinctive voice and provocative humour at its centre.
The collaborations bring several contrasting personalities into the album. Sfera Ebbasta appears on “Cabriolet”, Fabri Fibra joins Salmo on “Stai zitto”, and Nitro features on “Dispovery”. Coez contributes to “Sparare alla luna”, while American singer Nstasia adds a melodic counterpoint on “Il cielo nella stanza”. Each guest brings a different quality, helping the album shift naturally between confrontation, atmosphere and melody.
“90min” delivers the forceful energy associated with Salmo’s earlier work, while “Il cielo nella stanza” reveals a more intimate side. These contrasts give Playlist much of its character: sharp, combative verses share space with emotional vulnerability, broadening the record’s appeal without removing the rough edges of his music.
Salmo remains closely involved in the production, working alongside contributors including Low Kidd, Stabber, Charlie Charles, Dade and Frenetik & Orang3. The album set a new Italian record for streams on Spotify in a single day at the time of its release. Its success marked another major step in his career, bringing his varied musical approach to an increasingly large audience.
Flop, released on 1 October 2021 through Columbia Records, is Salmo’s sixth studio album. Arriving almost three years after Playlist, its 17 tracks continue his exploration of rap, rock and electronic music, with shifts between abrasive performances, melodic songs and more experimental production. The deliberately self-deprecating title sets the tone for a record filled with provocation, dark humour and personal unease.
The opening track, “Antipatico”, establishes a confrontational mood through rapid verses and sharp wordplay. Elsewhere, “Kumite” takes a more accessible, melodic approach, reflecting on a relationship that has ended. This contrast runs throughout the album, as Salmo moves between outward aggression and moments of vulnerability without settling into a single musical formula.
Guests include Noyz Narcos, Marracash, Guè and Shari, bringing different voices into the record while leaving Salmo firmly at its centre. The lyrics move through disillusionment, strained relationships and criticism of society, with religious imagery and questions of belief recurring across several tracks. His delivery ranges from tightly controlled rapping to rougher, more explosive passages.
The closing song, “Aldo Ritmo”, turns towards an insistent electronic groove, ending the album with another change of direction. Flop captures Salmo testing the breadth of his sound after the enormous success of Playlist, balancing the pressure of expectations with a continued appetite for experimentation.
CVLT, released on 3 November 2023 through Columbia Records, is a collaborative album by Salmo and Noyz Narcos. Across 15 tracks, the two rappers bring together their distinctive approaches: Salmo’s restless delivery and taste for musical experimentation meet Noyz’s gravelly voice and stark storytelling. Their shared interest in dark imagery gives the project a strong identity, with rap at the centre of its sound.
The partnership builds on a connection established long before this album, including Noyz’s appearance on “Rob Zombie” from Midnite. Rather than simply taking turns as guests on each other’s songs, they share the leading role throughout CVLT. Their contrasting voices give the exchanges much of their character, with Salmo’s changes of pace complementing Noyz’s heavier, more measured presence.
The opening track, “Anthem”, references their earlier work, setting the scene for a record that draws on both artists’ histories. Throughout the album, they balance forceful performances with more reflective passages. Horror imagery, uneasy atmospheres and black humour connect their musical worlds, while leaving room for their individual personalities and experiences.
The guest appearances add further variety. Marracash joins the duo on “Respira”, while Kid Yugi contributes to the title track. “My Love Song 2”, featuring Coez and Frah Quintale, revisits a title from Noyz Narcos’s earlier catalogue and introduces a more melodic dimension. Elsewhere, “Chilometri” reflects on the two rappers’ lives and careers, bringing a personal perspective to the record.
Cinema also plays an important role in the project’s presentation. Its announcement was accompanied by a horror short film written and directed by Dario Argento alongside YouNuts!, with Salmo and Noyz as its protagonists. This visual connection reinforces the album’s atmosphere and makes CVLT a meeting point between their long-standing musical partnership and their shared fascination with horror.
Ranch, released on 9 May 2025 through Columbia Records and Sony Music Italy, is Salmo’s seventh solo studio album. Following Flop and the collaborative project CVLT with Noyz Narcos, its 16 tracks place his own voice and experiences firmly at the centre. The title refers to his retreat in the Sardinian hills, where time away from public attention gave him space to reflect and work on music with greater freedom.
That setting shapes the album’s personal direction. Salmo allows more room for vulnerability and self-examination, while retaining the sharp delivery and restless musical instincts associated with his earlier records. Rap remains the foundation, but rock, electronic textures and melodic passages give the songs different shades of intensity. The result is a record that moves between outward confidence and more private uncertainty.
The guest list is deliberately limited, with Kaos appearing on “Bye Bye” as the album’s only featured artist. This keeps the focus on Salmo while connecting the project to an influential figure in Italian underground hip-hop. Songs including “On Fire”, “Cartine corte” and “Conta su di me” form part of a varied tracklist that closes with the extended “Titoli di coda”.
The visual presentation adds another layer to the project, with a dedicated video for each of its 16 tracks. Together, these create a connected cinematic world around the music, continuing Salmo’s interest in giving his albums a strong visual identity. Ranch presents a more inward-looking chapter in his catalogue, shaped by distance from the spotlight and a willingness to show more of the person behind the performances.
Salmo
Artist: Salmo
Real Name: Maurizio Pisciottu
Born: 29 June 1984, Olbia
Roots: Olbia, Sardinia
Active since: 1997
Style: Hip-hop blending hardcore rap, rock and electronic music.
Debut album: The Island Chainsaw Massacre (2011) ↗
Biography
Salmo is the stage name of Maurizio Pisciottu, a rapper, producer and performer born in Olbia, Sardinia, on 29 June 1984. His musical identity grew from an unusually broad background: alongside his early interest in hip-hop, he played in bands exploring metal, hardcore punk and other heavy sounds. Those experiences helped shape an approach to rap built around forceful delivery, distorted textures and the energy of a live band.
He began recording his first rhymes as a teenager, developing his skills through local groups and self-produced demos. Before reaching a national audience, he worked with bands including Skasico, To Ed Gein and Three Pigs’ Trip. This period gave him experience beyond the microphone, laying the foundations for his work as a producer and for the physical intensity that would become a hallmark of his concerts. It also encouraged him to treat musical genres as materials to combine, an instinct that has remained central to his career.
His emergence as a solo artist brought a distinctive combination of hardcore rap, electronic bass and rock influences into the Italian scene. A move from Sardinia to Milan helped widen his audience and professional connections, but his musical character remained rooted in the independent spirit of his early years. His sound could move between dense, abrasive production and more restrained passages, giving him room for both aggressive performances and introspective writing.
Dark humour, provocative imagery and abrupt changes of mood became recurring features of his work. Beneath the confrontational surface, his lyrics also explore insecurity, personal struggles, pressure and the contradictions of success. His delivery can shift from rapid, tightly controlled verses to shouted passages or melodic phrases, making the voice itself part of the music’s changing atmosphere. That range has helped him reach a broad audience while retaining the rough edges that first distinguished him.
Salmo also helped establish Machete, the collective and label associated with artists such as Hell Raton, Slait and Nitro. Its collaborative projects created a platform for emerging talent and brought together rappers and producers with different styles. His role within Machete made him an influential figure behind the scenes as well as a successful recording artist, contributing to a creative network whose impact extended beyond his own releases.
Live performance is central to his career. Working with musicians allows him to bring the weight and unpredictability of rock concerts into his rap shows, with arrangements that give familiar songs a different character on stage. His performances draw on years spent in smaller venues, where intensity and a direct connection with the crowd were essential. On 6 July 2022, he became the first rapper to headline a solo concert at Milan’s San Siro stadium, a milestone in his journey from Sardinia’s underground circuit to the country’s biggest stages.
Visual presentation is another important part of his identity. His use of masks, unsettling characters and imagery drawn from horror complements the darker elements of his music, while his involvement in directing videos gives him a role in shaping how that music is seen. His creative work also extends to television, including acting and soundtrack work for the Sky series Blocco 181.
Across these different activities, Salmo has maintained a recognisable identity: restless, confrontational and willing to experiment. His career connects the independence of underground music with the scale of a major recording artist, with hip-hop remaining the foundation of a sound that continues to draw from several musical worlds.
Albums
Released in 2011, The Island Chainsaw Massacre is Salmo’s debut solo album. It introduced a sound that brought rap together with distorted electronic production and the aggression of his background in heavier music. Rather than following a single established style, the record moves between hip-hop, dubstep, drum and bass and rock influences, giving his early work an immediately distinctive character.
Salmo’s delivery is central to that combination. He switches between tightly controlled verses, shouted passages and changes of rhythm, treating his voice as another part of the production. Dark humour and grotesque imagery run through the writing, matching the abrasive beats and unsettling atmosphere suggested by the album’s title and artwork.
Tracks including “Il senso dell’odio”, “Rancho della Luna” and “Yoko-Ono” capture different aspects of this approach, combining confrontational performances with an interest in unexpected sounds and arrangements. “Back on Track”, featuring Enigma, adds another voice without interrupting the record’s strongly individual identity.
The album’s rough edges are part of its appeal: it documents an artist testing how far rap could be pushed towards the electronic and alternative music that shaped him. The Island Chainsaw Massacre established the mixture of technical ability, provocation and experimentation that Salmo would develop across his later releases.
Death USB, released in 2012 through Tanta Roba, is Salmo’s second studio album. Following The Island Chainsaw Massacre, it pushes his sound further towards electronic production, with distorted bass, sharp synthesizers and aggressive rhythms supporting his forceful delivery. The energy of his rock and metal background remains, but the electronic elements take a more prominent role.
The album is a compact, confrontational record, moving between dark humour, frustration and criticism of the music industry. “Il pentacolo” presents the record business through sinister imagery, while “Negative Youth” explores disappointed ambitions and a bleak view of everyday life. Tracks such as “Demons to Diamonds” and “Death USB” underline his willingness to take Italian rap into harsher, less conventional territory.
Salmo handles most of the production himself, with contributions from DJ 2P, Fritz da Cat and Belzebass. This gives the album a strong personal identity while allowing different approaches to its electronic sound. Short and abrasive, Death USB captures an artist still experimenting, building on the impact of his debut and developing the musical personality that would become central to his later work.
Midnite, released on 2 April 2013 through Tanta Roba, is Salmo’s third studio album. Its 13 tracks develop the mixture of rap, electronic music and rock aggression heard on his earlier releases, while introducing a broader range of moods. Heavy bass and abrasive beats sit alongside more restrained passages, giving greater space to his storytelling and introspection.
“Russell Crowe” captures the album’s explosive energy, while “Rob Zombie”, featuring Noyz Narcos, brings together two distinctive voices with a shared taste for dark imagery. Other guests include Nitro on “Space Invaders” and Gemitaiz and MadMan on “Killer Game”. These collaborations strengthen the record’s connection to the Italian rap scene without diluting Salmo’s individual style.
Beneath its confrontational surface, Midnite also explores ageing, disillusionment and personal uncertainty. “Old Boy” offers a more reflective perspective, while “S.A.L.M.O.” demonstrates his ability to command a more traditional hip-hop setting. The shifts in pace make the album more varied than its aggressive opening might suggest.
Midnite debuted at number one on the Italian album chart, marking an important breakthrough in Salmo’s career. It brought his uncompromising approach to a wider audience and showed that his sound could develop beyond the initial impact of his first two records.
Hellvisback, released on 5 February 2016, is Salmo’s fourth studio album. Its 13 tracks bring together rap, electronic production and the rock influences that have shaped his music from the beginning. The sound is fuller and more varied than on his early records, with forceful rhythms, melodic passages and changes of pace giving his distinctive delivery room to develop.
The autobiographical single “1984” provides one of the album’s central moments, connecting personal memories with the energy of his musical background. “Il messia” features vocals from Victor Kwality and drums from Travis Barker of Blink-182, who also appears on “Bentley vs Cadillac”. These contributions strengthen the connection between hip-hop and live rock instrumentation that runs through the record.
Alongside its aggressive performances, Hellvisback makes space for reflection and atmosphere. Salmo moves between confrontational verses and more measured passages, maintaining the dark humour and unsettling imagery associated with his earlier work. Production contributions from Low Kidd, Big Joe, Stabber and Shablo help broaden the musical palette while keeping his voice at the centre.
The album’s visual identity also forms part of the project. Its deluxe edition includes a comic illustrated by Fr3nk, extending the record’s imagery into a separate narrative. This combination of music and illustration makes Hellvisback a particularly distinctive chapter in Salmo’s catalogue, showing his ambition to build a world around an album as well as a collection of songs.
Playlist, released on 9 November 2018 through Sony Music, is Salmo’s fifth studio album. Across 13 tracks, he expands his mixture of rap, electronic music and rock influences with more melodic hooks and contemporary trap production. The record moves between aggressive performances and more accessible songs, keeping his distinctive voice and provocative humour at its centre.
The collaborations bring several contrasting personalities into the album. Sfera Ebbasta appears on “Cabriolet”, Fabri Fibra joins Salmo on “Stai zitto”, and Nitro features on “Dispovery”. Coez contributes to “Sparare alla luna”, while American singer Nstasia adds a melodic counterpoint on “Il cielo nella stanza”. Each guest brings a different quality, helping the album shift naturally between confrontation, atmosphere and melody.
“90min” delivers the forceful energy associated with Salmo’s earlier work, while “Il cielo nella stanza” reveals a more intimate side. These contrasts give Playlist much of its character: sharp, combative verses share space with emotional vulnerability, broadening the record’s appeal without removing the rough edges of his music.
Salmo remains closely involved in the production, working alongside contributors including Low Kidd, Stabber, Charlie Charles, Dade and Frenetik & Orang3. The album set a new Italian record for streams on Spotify in a single day at the time of its release. Its success marked another major step in his career, bringing his varied musical approach to an increasingly large audience.
Flop, released on 1 October 2021 through Columbia Records, is Salmo’s sixth studio album. Arriving almost three years after Playlist, its 17 tracks continue his exploration of rap, rock and electronic music, with shifts between abrasive performances, melodic songs and more experimental production. The deliberately self-deprecating title sets the tone for a record filled with provocation, dark humour and personal unease.
The opening track, “Antipatico”, establishes a confrontational mood through rapid verses and sharp wordplay. Elsewhere, “Kumite” takes a more accessible, melodic approach, reflecting on a relationship that has ended. This contrast runs throughout the album, as Salmo moves between outward aggression and moments of vulnerability without settling into a single musical formula.
Guests include Noyz Narcos, Marracash, Guè and Shari, bringing different voices into the record while leaving Salmo firmly at its centre. The lyrics move through disillusionment, strained relationships and criticism of society, with religious imagery and questions of belief recurring across several tracks. His delivery ranges from tightly controlled rapping to rougher, more explosive passages.
The closing song, “Aldo Ritmo”, turns towards an insistent electronic groove, ending the album with another change of direction. Flop captures Salmo testing the breadth of his sound after the enormous success of Playlist, balancing the pressure of expectations with a continued appetite for experimentation.
CVLT, released on 3 November 2023 through Columbia Records, is a collaborative album by Salmo and Noyz Narcos. Across 15 tracks, the two rappers bring together their distinctive approaches: Salmo’s restless delivery and taste for musical experimentation meet Noyz’s gravelly voice and stark storytelling. Their shared interest in dark imagery gives the project a strong identity, with rap at the centre of its sound.
The partnership builds on a connection established long before this album, including Noyz’s appearance on “Rob Zombie” from Midnite. Rather than simply taking turns as guests on each other’s songs, they share the leading role throughout CVLT. Their contrasting voices give the exchanges much of their character, with Salmo’s changes of pace complementing Noyz’s heavier, more measured presence.
The opening track, “Anthem”, references their earlier work, setting the scene for a record that draws on both artists’ histories. Throughout the album, they balance forceful performances with more reflective passages. Horror imagery, uneasy atmospheres and black humour connect their musical worlds, while leaving room for their individual personalities and experiences.
The guest appearances add further variety. Marracash joins the duo on “Respira”, while Kid Yugi contributes to the title track. “My Love Song 2”, featuring Coez and Frah Quintale, revisits a title from Noyz Narcos’s earlier catalogue and introduces a more melodic dimension. Elsewhere, “Chilometri” reflects on the two rappers’ lives and careers, bringing a personal perspective to the record.
Cinema also plays an important role in the project’s presentation. Its announcement was accompanied by a horror short film written and directed by Dario Argento alongside YouNuts!, with Salmo and Noyz as its protagonists. This visual connection reinforces the album’s atmosphere and makes CVLT a meeting point between their long-standing musical partnership and their shared fascination with horror.
Ranch, released on 9 May 2025 through Columbia Records and Sony Music Italy, is Salmo’s seventh solo studio album. Following Flop and the collaborative project CVLT with Noyz Narcos, its 16 tracks place his own voice and experiences firmly at the centre. The title refers to his retreat in the Sardinian hills, where time away from public attention gave him space to reflect and work on music with greater freedom.
That setting shapes the album’s personal direction. Salmo allows more room for vulnerability and self-examination, while retaining the sharp delivery and restless musical instincts associated with his earlier records. Rap remains the foundation, but rock, electronic textures and melodic passages give the songs different shades of intensity. The result is a record that moves between outward confidence and more private uncertainty.
The guest list is deliberately limited, with Kaos appearing on “Bye Bye” as the album’s only featured artist. This keeps the focus on Salmo while connecting the project to an influential figure in Italian underground hip-hop. Songs including “On Fire”, “Cartine corte” and “Conta su di me” form part of a varied tracklist that closes with the extended “Titoli di coda”.
The visual presentation adds another layer to the project, with a dedicated video for each of its 16 tracks. Together, these create a connected cinematic world around the music, continuing Salmo’s interest in giving his albums a strong visual identity. Ranch presents a more inward-looking chapter in his catalogue, shaped by distance from the spotlight and a willingness to show more of the person behind the performances.