mixmag netherlands
If instead indolence prevails, and residents settle for playing the music they find in Beatport’s Top100, and promoters choo- se never to take risks by always booking the same 4-5 friends from their narrow circle, then this curve will last very little, and we’ll be back to square one.
I’m very curious to see what ha- ppens, and obviously I’m con- tributing to make the scales tip towards the first hypothesis: with STATE OF FLUX, my mis- sion is precisely to give a home and a platform to this new ener- gy. Rome doesn’t need to imitate anyone; it needs to rediscover its own strength in forming groups and defending its uniqueness.
State of Flux was born as a re- sidency at the Sanctuary, but today it’s a platform that brings together events, a radio show and soon a label. How did this project come about?
State of Flux was born precise- ly from the need to give a clear message: the dancefloor must be a space of freedom, sharing, collective enthusiasm. Different people who don’t know each other and who together become one thing thanks to music. I want people to fall in love with that track they’ve never heard before, with that artist they didn’t even know existed, not to come with their iPhone to film the hyped DJ of the moment.
I’m really not interested in seeing a dancefloor in delirium to the notes of a track they know per- fectly: what’s the point? That’s what concerts are for, for exam- ple.
Clubbing, on the other hand, must be discovery, openness, broade- ning one’s horizons, letting go into that state of flow where we no longer control anything, but it’s the music that controls us.
That’s where State of Flux comes from: often DJs become just co- llectible cards for promoters or club owners, or characters to be tagged in one’s Instagram story for the audience.
But behind every artist, if they truly are one, there is a journey, a story.
Behind every track they select there are precise choices, driven by a vision: and knowing that vi- sion is super interesting, as well as a source of inspiration. Not only for me as an artist, but for anyone with creative sensitivity or who is simply a music enthu- siast. That’s why I created the ra- dio show attached to the event: it’s not the classic podcast whe- re the DJ arrives and plays their mix, but a real in-depth interview. I ask my guests to choose three tracks that evoke in them that STATE OF FLUX where only the music matters: those tracks that manage to cancel out everything else and let you enter their world. We listen to each track toge- ther and comment on it, and from there we set off to discover everything about the guest: their artistic and life background, their current moment, their aspira- tions. Past, present and future.
And to give even more concrete form to this project, by summer I’ll also launch the label, which will become a platform for all the artists who think like me, where they can express themselves fre- ely, without thinking about genre definitions or charts. Free music, outside the box. I already have the slogan in mind: STATE OF FLUX, a place for inspiration.
The name itself speaks of mo- vement, instability and trans- formation. Is it an aesthetic or a personal statement? What “state of flux” are you in today?
You hit the nail on the head: STA- TE OF FLUX describes a situation of continuous change, where no- thing is definitive yet. It is both an aesthetic and a personal state- ment.
Today we are all moving at such a speed that both external and internal conditions are constant- ly changing: those who seek sta- bility are chasing an illusion and stop at appearances, ignoring the change that is now the great law governing our lives.
The only thing to do is accept the “state of flux”, dive into it and learn to find harmony in conflict and change.
Today I am fully aware of this, and that’s already a great starting point.
Musically, I’m going through a phase of great discovery: I always like to carefully build my sets, take care of the levels of tension and emotion, structure crescendos not only in terms of BPM but also energetically. To achieve this goal, the more musical languages you have at your disposal, the bet- ter, when you have full mastery of how to use them. For me, mu- sic is continuous discovery and emotion: the feeling I get when I find a track that drives me crazy during my digging hours is indes- cribable. It’s a beautiful thrill, one of the many reasons I love this job. Lately I’ve been moving into terri- tories I never thought I’d explore a few years ago: the 130 BPM ran- ge, garage and breakbeat, mi- nimal and acid house. Obviously the indie dance spirit remains, but it’s much more contaminated by house as a macro genre.
STATE OF FLUX is my acceptan- ce of chaos as a form of order.
Aesthetically, it’s the refusal to
be pigeonholed: today my music is a living organism that mutates from organic to acid, from mini- mal to indie dance, without ever stopping to ask permission. It’s a declaration of war on the static nature of genres. Personally, it’s the courage to embrace uncer- tainty. For years we have sought “stability” as a goal, but in club- bing — as in life — stability is the beginning of the end.
I can’t wait to transfer this fer- ment into the studio too: today I find myself in an extremely cons- cious, positive and creative state of flux.
I’m working on a lot of new music and soon there will be some great new things for you to hear.
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