glauco di mambro
For me, the dancefloor must be an open, free, shared space, whe- re everyone feels safe to express themselves fully while respecting others, and where music expres- ses its greatest power, that of putting on the same level and uniting the most diverse peo- ple. On the dancefloor we are all equal, but each with their own identity to preserve: and today I don’t think there is a more rebe- llious act than breaking down di- fferences, of any kind and genre. It’s not a marketing concept, it’s a biological necessity. If you lose that spark of unpredictability, the club becomes an office. And I ne- ver wanted to go to the office.
You do about 80 shows a year without an agency. Staying inde- pendent in an increasingly struc- tured industry: is it an ideological choice or a way to stay lucid?
It’s a tough choice, it means much more extra-musical work: but fortunately I have people who support me, like Riccardo Vitto- re, with whom we are building an increasingly structured and clo- se-knit team, and who are doing an incredible job.
I’m not against agencies, on the contrary: they are an integral part of a complex system like the mu- sic industry where it’s essential that everyone does their part. My musical evolution has led me to develop a very peculiar sound and language, difficult to pigeon- hole: I’m aware of it, indeed I’m convinced it’s a strength, but this makes it much harder to find the right “home” at agency level.
Currently I’m in a study phase: I don’t like to change agencies often, in the past I’ve only had two in over ten years. If I enter an agency now, it must be the agen- cy with which I will share a long journey.
I see the agency not only as a “commercial” part that helps you do more shows and sell more da- tes, but as a team that shares the entire journey, the entire vision of the artist. And precisely because I attribute this importance to the agency, I tend to reflect a lot be- fore making a choice.
Especially in a context like to- day’s where, probably to respond to a moment of great confusion and hybridisation, agencies tend to be very sub-sectoral and fo- cus on very specific sounds, in order to build easily interchan- geable rosters. I am aware that I am not easily interchangeable and that this is the longest and hardest road, but it’s the only possible way for me.
I could never propose a sound or produce a track to meet market demands, or with the aim of be- ing easily interchangeable with someone else: the only way for me is to stay true to my vision, it’s the only way to always feel that emotion and that charge when I’m at the console and connec- ting with the audience. Otherwise I would quit doing this job.
Today, at what point in your ar- tistic journey do you feel you have arrived? What gives you the most satisfaction in your career and what are you aiming for in your future?
Today I find myself in a moment of great change and experimen- tation, both musically and perso- nally. I have moved from a more organic and downtempo univer- se to much more Indie Dance and House sounds, with a strong acid and minimal touch. I’ve be- come increasingly aware that I’m not interested in pleasing the masses, but in expressing myself freely without compromises: I’ve discovered a decidedly under- ground soul that had remained a bit hidden.
This process of evolution has ne- ver stopped or stabilised: I feel that my sound is still in motion, and above all I feel that the time has come to give myself time to concretise this process into mu- sic. Return to the studio, produ- ce: even at the cost of giving up some tours and doing a few fewer dates. The dream remains an Al- bum that is the manifesto of my musical vision, but fortunately I see it less and less distant.
What gratifies me is the great
freedom that this life choice allows: and I want to be clear, I believe it’s not a career, but a life choice.
I feel I have finally reached a point where I can also afford to say more “no”, to preserve my identity, to give full expression to my musical vision without com- promises and without the fear or duty to please / gratify that specific scene, lobby, influential group. What matters is only the audience: they are the only ones whose judgement I accept.
I am very happy to be in a posi- tion to also help younger artists and producers take their first steps, to create a community, to provide a platform like that of the STATE OF FLUX label and events for all those who share the same vision: this is one of the things that gratifies me most, suppor- ting and creating community.
In the future I see a lot of music, both played and produced, where all these principles are conveyed spontaneously, freshly, direct- ly. I am strongly convinced that in this sense opening the State of Flux label is the right thing to do, and I aim to expand the Sta- te of Flux project more and more not only as a label and party, but above all as a community, with a group of artists who share this sound and spread it around the world.
It’s not just about music, the bi- ggest goal for the future is the freedom to be vulnerable and authentic. STATE OF FLUX is not a destination, but the perimeter I have chosen to protect this puri- ty. I prefer to go a few extra miles and sleep a few hours less, but wake up knowing that my iden- tity is intact. I don’t seek appro- val, I seek connections; I no longer have the craving to build a career, but rather I want to contribute to creating an ecosystem where sound is the only compass. I can’t wait to return to the silence of the studio to give voice to a fina- lly conscious chaos, knowing that every beat that is born will not be a compromise, but a little piece of truth to share with those who hunger for the same freedom.
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