For guitarist/composer/producer Simon Mularoni, the 20th anniversary of his joining Italian proggers DGM marks an incredibly busy time. Seven albums. Countless tours to various parts of the globe. Some musical changes of direction. And a rotating cast of musicians, which has made the band name obsolete.
“Yeah, we were originally called DGM after the first initials of three of the founders’ names. But they’ve been gone for a long time. We’ve talked about changing the name, but at this point, that’s what everybody knows us by.”
One of the things Mularoni and company are celebrating this year is the new album Endless. For the first time, the group is venturing into acoustic territory; in fact, Mularoni composed much of the music on an acoustic guitar (the first he ever owned). It’s allowed them to explore different sounds, including violin and flute — with a tip of the hat to influences like Kansas and Jethro Tull, respectively. The result is a modern and vibrant mix of soaring vocals, intricate guitar work, memorable hooks, and emotionally charged instrumental sections that showcase DGM at their career finest.
“We’ve been into the classic progressive rock bands for some time,” Mularoni explains. “We finally got around to showing our influences.” Originally, Endless was supposed to be part of a double album, paired with the 2002 release Life (which was a heavier metal-sounding record). However, the record company thought that there was too much music in one package, especially coming out of Covid-19, so the two were split up. And Endless became a concept album, one considering the ideas of life decisions and alternative paths.
Recently, Simone Mularoni spent some time chatting with Mark Boardman. The two talked about the increased output of the band and how a new musical direction has brought new energy and life to a band celebrating more than two decades in the spotlight.
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