Sliding Doors: If you were to quit DJ-ing tomorrow what would you delve into?
If I weren’t a DJ, I’d immerse myself in the visual arts, maybe in installation art, where I could merge the structures of music and design.
In a past interview, you mentioned a pivotal moment in your journey into electronic music when you heard Shackleton for the first time at Goa Club, describing how your mind “just broke” on the dance floor. Can you recall any recent club or festival experience that hit you with the same intensity, pushing you creatively?
Ah yes, that moment with Shackleton was transformative—it felt like the sound enveloped me completely. The creativity it sparked is something I still carry with me. The only recent experience that matches that intensity for me was at Labyrinth Festival in Japan. It pushed me creatively, and playing there one day is a dream of mine.
When I listen to your EP Il significato delle parole, I think it’s your most personal and intimate work because it creates delicate and meditative atmospheres. I imagined a night walk in Rome when everything is empty, the chaos is over, and you are in this place suspended between past eras. What’s your special place in Rome?
Rome has many hidden corners, but one of my favourites is Janiculum Hill, especially at dusk. Sitting there, surrounded by the soft glow of the city, I feel a connection to everything that has come before and what is yet to be. It’s a sanctuary for reflection, where the sounds of the city fade and history seems to whisper around me.
You’ve spoken about the inspiration you took from Oliver Sacks’ Musicophilia. How do literature or non-musical art forms influence your creative process? What are some non-musical influences driving you currently?
Literature unlocks emotions and perspectives that I infuse into my music. I’m currently captivated by the works of Haruki Murakami; his blend of the surreal and the mundane mirrors my own exploration of sound. The stories I find in books often translate into the narratives I try to create in my music.
The concept for your label Danza Tribale was sparked by Donato Dozzy, who encouraged you to start the label as an outlet for your own productions, similar to what he had done in his early career. Reflecting on this, what advice would you offer to aspiring DJs or producers who are just starting out?
Embrace your authenticity. The music industry may pressure you to conform, but it’s your individuality that will make you stand out. Collaborate, learn from others, but trust your voice. My journey has been one of constant evolution, always guided by what feels true to me.
Danza Tribale was born in 2016 and over the years developed a strong visual identity characterized by colorful artworks designed by Kero. Can you tell us more about this choice and collaboration? Can you anticipate any future releases?
Kero’s vibrant artistry perfectly captures the essence of Danza Tribale. It’s about more than sound—it’s a full experience. As we move forward, I’m excited about experimental releases that blend genres and push boundaries, with a new visionary approach for the label set to emerge soon.
How do you balance the technicality of production with maintaining an organic, emotionally-driven feel in your tracks? Do you have any rituals or techniques in the studio that keep your workflow intuitive?
I rely heavily on intuition. Before I start, I spend time in silence, letting melodies and rhythms form in my mind. If I get too “technical,” I step back and reconnect with the instrumentals, reminding myself that music is a channel for emotion. I often start with live recordings and manipulate them until they feel right.
What tracks did you open and close your set with at Berghain on September 14th?
Open: FKA.M4A – Pillow talk
Closing: Cosmo Kid – The Theme
