Masseti – Odds and Ends Review
By Iceberg
When prog and symphonic metal meet in just the right way, they click together like puzzle pieces. Prog’s technicality and excess are balanced by the melody and atmosphere of symphonic metal. Symphonic metal’s penchant for straightforward structure and synth-reliance is buoyed by the dynamism and rhythm-bending of guitar wizardry. Tiago Masseti, the man behind his eponymous band, Masseti, is seeking to walk the line between these two styles on his debut album, Odds and Ends. Previously fronting Brazilian prog act Daydream XI, Tiago relocated to Brooklyn and hashed out the eight tracks of his debut album in the creative incubator of the COVID lockdowns. Masseti’s chosen style is dear to my heart, so I was excited to see if Odds and Ends could rekindle one of my oldest and fondest flames.
If you’re familiar with the sounds of early Symphony X and Dream Theater, you’ll have insight into the contents of Odds and Ends. Chunky, rhythmic riffs propel the verses towards catchy choruses and then into acrobatic instrumental passages, and don’t forget the omnipresent unison lines, where keyboard and guitar move through tonality and barlines with abandon. Musical prowess is required here, and the performances on Odds and Ends are tight and commendable across the board. Tiago, whether he means to or not, does a spot-on impression of 90’s Russell Allen, with a clean upper register that can wail in the highs (“A Singer In The Arms Of Winter”) and swoop into low growls (“Against Our Fire”). His guitar work is impressive, with solos in the mold of Romeo and Petrucci (“The Pool of Liquid Dreams,” “A Singer In The Arms Of Winter”). Masseti’s rhythm section is dependable and shines when needed, with a noteworthy bass intro (“The Pool of Liquid Dreams”) and some dazzlingly quick combinations on the drums (“Against Our Fire”).
Odds and Ends is a fitting title for Masseti’s debut, because the album consists of tracks that seem fully cooked and others that don’t quite fit in. When Tiago nails his songwriting and editing, though, some of the material is downright decadent. Opener and somehow-not-single “Serpents and Whores” is the star of the show here, effortlessly fusing modern Haken djent with an absolute banger of a chorus and a smart, underutilized odd-time signature diversion in the coda. The album busies itself with winding paths from there, visiting classic Symphony X-tinged ballads (“Gone,” “Hindrance”) and long-form Dream Theater-style excursions (“Never Be Like You,” “Heir Of The Survivor”). Masseti certainly don’t rest on their laurels, but the cosmopolitan nature of Odds and Ends proves to be something of an Achilles’ heel.
Perhaps more important than convincing songs is album cohesion. The DR 6 production has a modern sheen to it, but it runs louder than it needs to and would benefit from more nuance and depth. Prog is no stranger to long compositions, but they can be momentum killers, and editing is paramount. The opening salvo of tracks is trimmed and lean, full of exciting choruses and varied songwriting approaches, but the album’s center sags. “Singer In The Arms Of Winter” is a hulking tribute to Dio that nails the execution but sticks around just a little too long, and while “Never Be Like You” uses a refreshingly off-kilter unison rhythm as its central motif, it takes 8 minutes to do what it could probably do in 6. The kinetic energy of the album’s outset is never really regained. By the time closer “Heir Of The Survivor”—a Twilight Of Olympus inspired track if I’ve ever heard one—rolls around, it seems Masseti has lost the novel direction they took in the beginning and are sitting in more comfortable, proven territory.
It may seem I’m coming down hard on Masseti, but I do it out of love, because the front end of this album shows just how much raw potential is here. Tiago should be commended for shouldering so much of the performance and production for a debut album that sounds like it’s coming from a mature outfit. I can see myself returning to this album every once in a while, but tracks like “Serpents and Whores” and “Gone” will definitely be making my NOW 2025 list1. Masseti have all the tools in their belt, and with greater editing and album cohesion, I see a great symphonic prog record in their future.
Rating: 3.0/5.0
DR: 6 | Format Reviewed: 256 kbps mp3
Label: Self-Released
Websites: massetiofficial.com | facebook.com/massetiofficial
Releases Worldwide: June 14th, 2025
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