Name: Vincenzo Pizzi
Occupation: Producer, sound designer, label owner at pyteca
Nationality: Italian
Recent release: Vincenzo Pizzi's Aware is out via Pyteca.
Recommendations on the topic of sound: Nowadays it is so easy and good to get informed that you just have to search well and unearth the sources you like best. No spoilers!

If you enjoyed this Vincenzo Pizzi interview and would like to find out more about his work, visit his official website. He is also on Instagram, and Facebook.  



Can you talk a bit about your interest in or fascination for sound? What were early experiences which sparked it?
 


I began to be fascinated by noises before sounds, because my father is a mechanic and it is a very noisy job.

When I was 16/17 years old, I bought the lite version of Ableton and the launchpad, started sampling noises from the workshop, and the output of this album (I used to spend my days researching music) made me say: I want to produce too.

Which artists, approaches, albums or performances using sound in an unusual or remarkable way captured your imagination in the beginning? 
 


Definitely Four Tet, but much has also been done by Aphex Twin, Venetian Snares, u-ziq, Autechre and later Blawan and many others.



What's your take on how your upbringing and cultural surrounding have influenced your sonic preferences? 
 


In my family we have always listened to music, from my grandparents' waltz and folk records to my parents' classic Italian music, such as Lucio Battisti, Gino Paoli, Nada and the timeless ones related to my roots like I Giganti, Jimmy Fontana and others.



They have definitely influenced my way of seeing and hearing music, of being curious and constantly seeking new stimuli and new musical genres.



Working predominantly with field recordings and sound can be an incisive step / transition. Aside from musical considerations, there can also be personal motivations for looking for alternatives. Was this the case for you, and if so, in which way?

I think sound and sound design are fundamental, and being able to create from real sounds unreal texture, that's the concept I like the most and it was really a need of mine.

How would you describe the shift of moving towards music which places the focus foremost on sound, both from your perspective as a listener and a creator?



Often the creator is first a listener, and I think it's very much related to experiencing and wanting to tell something.


What, would you say, are the key ideas behind your approach to music and working with sound? Do you see yourself as part of a tradition or historic lineage when it comes to your way of working with sound?
 


I like to see myself and think of myself as a sound craftsman, creating from scratch. Shaping has something mental that then becomes physical as music fascinates me.

Behind every single sound, melody, harmony, and structure, there is so much work.

What are the sounds that you find yourself most drawn to? Are there sounds you reject – if so, for what reasons? 
 


Organic, metallic sounds and noises are my favorite. Fast rhythms both straight and very broken.

I can't say which sounds I don't like specifically, it's more the ensemble that I don't prefer in certain contexts.

As creative goals and technical abilities change, so does the need for different tools of expression, from instruments via software tools and recording equipment. Can you describe this path for you personally starting from your first studio/first instruments and equipment? What motivated some of the choices you made in terms of instruments/tools/equipment over the years?



Basically your way of operating does not change dramatically, it is certainly constantly evolving and updating. A continuous flow that transports you.

Compared to the beginning my setup has grown and become professional, now I have my own studio. I always try not to buy stuff just for the sake of it, but make targeted choices based on needs.

Where do you find the sounds you're working with? How do you collect and organise them?  



I like to create sounds out of nothing, record them and then process them. I use a lot of serum, my voice, body parts and objects inside the studio, and different plug-ins from NI. I have my own library and a fairly precise setup.

From the point of view of your creative process, how do you work with sounds? Can you take me through your process on the basis of a project or album that's particularly dear to you?
 


Aware, my latest album. I started with the track "Letargia" and then developed ten other tracks. I experimented a lot with vocals, sound design and textures.

I can start from a rhythm or a vocal line, I like to follow my instincts but still be precise and have a pattern in my head. The margin for error is always there and some times it is also the most interesting part. 
 



The possibilities of modern production tools have allowed artists to realise ever more refined or extreme sounds. Is there a sound you would personally like to create but haven't been able to yet? 
 


I am very satisfied with the sounds of the last album as I wanted them, but I am never satisfied. It is a continuous growth and a wanting to create new and always different sounds.

There is one sound that I have not yet created that I plan to develop soon, maybe for the next album.

How do you see the relationship between sound, space and composition? 
 


I find it very interesting and applicable all the time, in everyday life even if we don't realize it.

The idea of acoustic ecology has drawn a lot of attention to the question of how much we are affected by the sound surrounding us. What's your take on this and on acoustic ecology as a movement in general? 
 


It is a topic that is very important to me; it was my senior thesis.

The sound world influences us in positive and negative ways. Too much noise, and chaotic sounds are causes of stress and nervousness. Silence is peace, tranquility, calm.

One cannot live without the other and they can often have conflicting influences as well. Silence can often be frightening.

We can listen to a pop song or open our window and simply take in the noises of the environment. Without going into the semantics of 'music vs field recordings', in which way are these experiences different and / or connected, do you feel? 



In both cases we receive stimuli, absorb and release. These are beautiful experiences and if listened to carefully they can really transport us.

From the concept of Nada Brahma to "In the Beginning was the Word", many spiritual traditions have regarded sound as the basis of the world. Regardless of whether you're taking a scientific or spiritual angle, what is your own take on the idea of a harmony of the spheres and sound as the foundational element of existence?

Partly yes. But I don't think I have adequate answers, or anyway I could go into a very long speech.