AUTHOR SERGIO NIÑO PHOTOGRAPHY TESSA BOZEK, JULIEN TELL
mixmag netherlands
ENNIO INSTINCT BEFORE STRUCTURE
ENNIO´s relationship with music did not begin with ambition or strategy, but with exposure so constant it dissolved the idea of distance. Sound was not something to reach for. It was already there, embedded in the rhythms of daily life, long before it suggested a future.
What emerges from that kind of beginning is a different kind of instinct. Not one built through formal training or external validation, but through repetition, curiosity, and absorption. The foundations are less about technique and more about familiarity, about understanding how music behaves before understanding what it means to make it. That early closeness continues to define how ENNIO moves now, across production, DJing, and the communities that have shaped his trajectory.
The result is a project that resists rigidity. It does not sit comfortably within fixed categories or narratives of progression. Instead, it moves through phases of openness and recalibration, held together by a consistent internal logic rather than a defined external identity. What holds it in place is not form, but feeling.
“My parents placed a drum kit in my room when I was a little kid, and I definitely fucked up our neighbors with it, haha. Music was always there. I discovered a lot of music through my parents. My mom was listening to a lot of Prince and Sade.
My Dad was all over the place. I came to a lot of his gigs and studio sessions, later in my teens, we had that ritual of getting into his car, driving around the city during the day or night for hours, showing each other music, and discussing it. I prepared mixtapes to show him what I am currently listening to. I learned a lot from these drives. I also discovered The Prodigy and Aphex Twin by going through his CDs, which had a big impact on me, as well as Prince via my Mom. Like a lot. I think what all that did early on is that I never saw music as something distant or ‘professional.’ It didn’t feel like this unreachable thing, but normal. Something you live with. I used to spend hours and hours listening to music from random corners of the internet. When you still looked for yourself
without an algorithm showing you what you already like or should like. It was easier to find unexpected things and not just what everyone or your own taste dictates. No for you page.”
That sense of openness carried directly into his earliest attempts at making music. There was no formal entry point, no structured introduction to production. Instead, it emerged through fragments, through tools that were never designed to be taken seriously, through spaces where experimentation mattered more than outcome.
The process
was informal, but it established something essential: a way of working that prioritized instinct over instruction.
038
Page 1 |
Page 2 |
Page 3 |
Page 4 |
Page 5 |
Page 6 |
Page 7 |
Page 8 |
Page 9 |
Page 10 |
Page 11 |
Page 12 |
Page 13 |
Page 14 |
Page 15 |
Page 16 |
Page 17 |
Page 18 |
Page 19 |
Page 20 |
Page 21 |
Page 22 |
Page 23 |
Page 24 |
Page 25 |
Page 26 |
Page 27 |
Page 28 |
Page 29 |
Page 30 |
Page 31 |
Page 32 |
Page 33 |
Page 34 |
Page 35 |
Page 36 |
Page 37 |
Page 38 |
Page 39 |
Page 40 |
Page 41 |
Page 42 |
Page 43 |
Page 44 |
Page 45 |
Page 46 |
Page 47 |
Page 48 |
Page 49 |
Page 50 |
Page 51 |
Page 52 |
Page 53 |
Page 54 |
Page 55 |
Page 56 |
Page 57 |
Page 58 |
Page 59 |
Page 60 |
Page 61 |
Page 62 |
Page 63 |
Page 64 |
Page 65 |
Page 66 |
Page 67 |
Page 68 |
Page 69 |
Page 70 |
Page 71 |
Page 72 |
Page 73 |
Page 74 |
Page 75 |
Page 76 |
Page 77 |
Page 78 |
Page 79 |
Page 80 |
Page 81 |
Page 82
