Interviews

Senza Estate is a beautiful thing. I can vouch for that sincerely as I have listened to this beautiful Balearic but bumpin’ beauty ten times through. Written by Sicilian artist My Friend Dario, it’s about an imaginary holiday he ‘wished’ he was able to have. Quite simply one the best albums I’ve heard this year. Big statement I know. Read on to find out more about the stunning album and this intriguing and talented producer.

Thanks for taking the time to talk. Where are you this moment and how are you spending your day?

I'm doing well, thank you. I just finished a studio session, and now I'm grabbing my towel and swimsuit to head to the beach for a couple of hours. Near my house, between the train station and the port, there's a lava stone cliff where you might occasionally spot dolphins in the distance. I often take a short break here to disconnect from work, take a swim, sunbathe, and read a book.

Where were you born and where are you based?

I was born in Catania, on the eastern coast of Sicily, under Mount Etna. I had the opportunity to live outside of Italy when, as DJ Blatta & Inesha, I traveled the world. I played at venues like Webster Hall in New York, Social Club in Paris, and Womb in Tokyo, just to name a few. However, something has always kept me in my hometown. It's not easy to make a living from music in a country that doesn't consider being a musician a real job.

What do you love most of all about where you live and what do you think is the most significant feature of your town?

Living on an island has its pros and cons. Being isolated and needing to take a plane—or even more than one—to work abroad is difficult and very expensive. Sicilians are good people, but only if you see them as a tourist during your vacation. You realize how a magical place, with mountains, the sea, rivers, lakes, and a volcano that makes you feel like you're in Japan, is violated every day by ignorant and selfish people. Fortunately, a generation of young people who studied abroad is now returning home, bringing a bit of civilization and rediscovering their grandparents' land to create vineyards or cultivate fruits. They are restoring old country houses and trying to build small communities.

The landscapes, the scent and taste of the food, and a slow life with human rhythms inspire you if you're an artist; they give you hope. But it's not enough when you clash with a country that's 50 years behind—the pros end up being just clichés.

What/ who is the most exciting thing happening on the global music scene for you currently?

Honestly, I'm not interested in what's happening on the global music scene, so I wouldn't know what to say. At this point in my life, I'm listening to composers like Charif Megarbane, Maston, СОЮЗ / SOYUZ, Shabaka, Monaqe, Resavoir, Hermanos Gutiérrez, and Pedro Ricardo.

Today, music is like a sci-fi series such as Star Trek, where there are different species, each with it's own physical and cultural characteristics, even those that aren't made of matter. All are united by a sense of humanity, sharing, and love for life that makes this universe vibrate.

There is no new music, only an evolution of our perception. Music is also silence or ambient sounds; if you focus and pay attention, you can decipher them and hear beats, harmonies, and melodies. However, I'm always open to recommendations and suggestions for discovering contemporary music.

What is your earliest musical memory?

When I was around 13 years old in school, I had a music teacher who was dating my sister's teacher (so he paid attention to me). He was an orchestra conductor but taught at the school. During music class, I would spend the time playing the guitar while he played the flute. All the other classmates were making noise, but we were focused on playing and listening to music. I remember an old cassette recorder where he would play 'The Dark Side of the Moon' by Pink Floyd, and we would close our eyes, get lost in the music, and forget we were in class.

Is there an album that sticks in your mind from when you were a kid?

I remember an event that was decisive in my life. I was about 9 years old, it was lunchtime, and my father was tired from work. We were about to sit down to eat, and I was arguing with my sister because I wanted to listen to a record from an Italian TV show by Renzo Arbore, Indietro Tutta. My father, annoyed, actually very irritated by this argument, took the record and almost bent it, nearly breaking it. He looked at me, stopped, and said, 'Come with me.'

He took me to his 1970s Hi-Fi stereo—Thorens turntable, Pioneer amplifier, and JBL wooden speakers. He pulled out Made in Japan by Deep Purple, Alan Parsons Project, Pendulum by Creedence Clearwater Revival, Grand Funk Railroad, and a Lucio Battisti record. He told me, 'If you want to argue with your sister about music, at least argue over these records.

Who are you musical heros and icons from the past?

Miles Davis was the first. My only guitar studies were a couple of years of jazz. I remember that before I could play to learn the language, I had to listen to Miles for hours on end while going to school. When I went out with friends, I had my portable CD player with headphones. Everyone was listening to Nirvana, Braniac, or Uzeda (so was I), but I was in love with that culture of improvisation, of making music and living in the moment. Few words, but the right ones from Miles—he shaped great musicians.

I adore Herbie Hancock. I read his autobiography Possibilities and found comfort in the story of his life and that of his companions.

Your sensitivity and approach to music change; at first, you're an explorer searching for new ways, worlds, and techniques to express yourself. Then, what remains is simplicity—or rather, intellectual honesty—doing what you know how to do without complicating your life.

How long have you been making music?

I started playing guitar at 11 years old. I didn't know how to play; I just liked the sound of the strings and would create and invent songs without knowing any chords. In fact, I didn't even know how to tune the guitar. One day, my father made a trade with a coffee machine and got me my first electric guitar, which I connected to the Hi-Fi stereo—and, of course, I blew the speakers. My first encounter with electronic music came a few years later.

In Italy, you could choose between military service or being a conscientious objector, and I chose the latter. I had a lot of free time, so during the day, I spent my time studying and programming a Yamaha RM1X. I really liked Jungle and Drum & Bass—anything that didn't have a 4/4 kick drum. In the evenings, I worked at the ticket booth of one of the most important clubs in my city, the Mercati Generali, where I was fortunate to listen to many artists who inspired me, like DJ Spooky, Rainer Trüby, Lindstrøm & Prins Thomas. A few years later, it became the club where I played a lot as a DJ and organized legendary parties for Catania.

Are you a DJ too? What came first Djing or production or being an artist/ musician?

I consider myself an artist first and foremost. Music is the language I've always used to best express myself. I play several instruments today, and over time, I've learned that if you have musicality and a computer with a DAW, even the desk you work on can become a musical instrument. I really enjoy DJing because I need to have people in front of me to create a connection and lead them on a musical journey that asks questions—never just one genre. I have many records, and like in jazz, I love to improvise with different BPMs and sounds. The important thing is the transitions between one record and another; they need to play together for a while. Dynamics are crucial—you have to listen to the dance floor and guide it towards you.

Who do you think is making great music at the moment internationally?

I really like Holy Tongue (Valentina Magaletti, Al Wootton, Susumu Mukai), whom I saw live at the Ortigia Sound System Festival. Uzeda is a historic band from Catania, perhaps the only or one of the few Italian bands to have written and contributed to an underground international sound, collaborating with Steve Albini. I know them personally and love them a lot. I also enjoy Ben Frost, Damon Albarn, Thom Yorke with Burial, Massive Attack, Portishead, and Broadcast.

Who do you think is one of the greatest electronic musicians of our time?

Great question! I don't have any favorites; I don’t like competition in art. For me, music is a bit like food. When you’re young, you only eat what you like, but you’re intrigued by the smells of foods you don’t eat. As you grow older, those smells lead you to try things you didn’t like before. It’s always a discovery— the more you grow, the more refined your taste becomes. If I have to mention a few, they would be Burial, Brian Eno, David Toop, James Holden, and Shabaka.

What other projects have you been working on this year aside from Senza Estate?

I’ve worked on the new album by Cratere Centrale, my band that I produce and where I play guitar and synth. I’ve also written a Lo-Fi Hip Hop album under the name D.A. Beatand released the second EP as MFD ('Food for Woofers V.2') on Hell Yeah, which has a breakbeat sound but is at 120 BPM. There are several tracks I'm very attached to, like 'Tellaro,' which is the name of the place where I retreat when I’m not feeling well and need to rejuvenate. I continue to work on new remixes and have started writing the new MFD album. I'm composing music as Dario Aiello, with more experimental electronic material featuring guitar, modular synths, samplers, and field recordings.

How did you get involved with Hell Yeah Records and Marco Gallerani?

I’ve known Marco for a long time! One summer in 2004, I met DJ Afghan from the Drum & Bass Arena, one of the DJs from Link in Bologna, during his vacation in Sicily. At that time, I had produced some breakbeat tracks and had decided to move to Rotterdam to stay with my cousin. My adventure didn’t last long; I had sold all my old studio gear but had only gathered a small amount of money before leaving. After 15 days, I decided to return to Italy and called DJ Afghan to stay a couple of days in Ferrara before heading back to Catania. Well, fate or luck—or whatever you want to call it—sometimes you need to take action and move. While I was staying with Afghan, Marco Gallerani, A&R at Mantrabreaks and other labels from Expanded Music, came to visit him. Marco gave me a dozen of his vinyl records and I played him my promo CD. That’s where a great collaboration started, leading to my old project Blatta & Inesha. I released many records, including one with Hell Yeah right when it was starting, with an EP called 'Revolution.' I still listen to it and have to say it’s a great record, a mix of kuduro, 2-step, UK garage, and electro.

Life goes on and things happen—I toured a lot as a DJ, playing in many places. After the B&I experience, I needed to make different music that didn’t have a club edit but told stories. After more than 10 years, I wrote to Marco and played him the first MFD. So, after years, the collaboration with my friend Marco Gallerani began again.

Tell us a little about your other releases on the label.

The first release is Calamari Fritti, named after one of my favorite dishes. I recommend coming to Sicily to try it, accompanied by a good glass of white wine—both the record and the dish. It also includes Sunset Outro, which Marco later re-released on vinyl along with Desertico, from which the EP takes its name. Catania H24 is the second EP, and I am very attached to 'Nonna,' an ambient track dedicated to my grandmother who passed away around that time.

My Friend Andrea/Horn is the third EP dedicated to my friend and musician Andrea Normanno, with whom I still play today. Tora/Kiki EP is more uptempo; the track names are also the names of my two twin cats, who are difficult to tell apart. They keep me company in the studio and are the first to give feedback on my work. When they don't like something, they leave, complaining. If they like it, they stay quietly, sleeping on top of my studio monitors.

The Montalbano EP is named after the famous novel by Camilleri, featuring Commissioner Montalbano. I wrote this EP during the lockdown, longing to return to normal life, and the sound it produced gave me a sense of hope, reminding me of Lucio Battisti. The track 'Gola,' sung by J.O.D., features flight attendant instructions in the drop as a wish to start traveling again soon.

Following this, there’s another EP, Sunset Outro and Desertico. Desertico is slow and dark with a desert guitar that makes its way into the drop. Sonica Jonica EP includes 'Marittimo,' and I often use Eddie C’s DMX, which is always great for the dance floor. Finally, we have Food For Woofers V.1 and V.2. The first contains 'Easy Sunday,' also played by Massimiliano Pagliara, and 'Sambatismo,' where I reference The Jazz Room by Paul Murphy. The second is a more breakbeat record but slow, suitable both for listening and dancing.

Talk to us about the new album and the initial idea. Is there a story?

After various remixes, Marco Gallerani and I thought it was time to create an album. We began searching through old tracks and new ideas. I wanted to make a record that was primarily for listening, one where you start with the first track and let it play through to the end—a journey that could best represent the sound of MFD. We aimed to revisit old pieces like 'Marittimo' and the theme from Acid Panorama to give them new life in the album.

What was most important for you to convey through these tracks?

A subtle, melancholic scent but full of hope for a summer not yet lived.

Do you feel that you were able to accomplish all of your intentions?

I hope so. Senza Estate is an honest and sincere album; the music came about spontaneously, and the title represents an important moment in my life. I’m happy to be able to share my music, which reflects a bit of my life.

What are you most proud of with this release?

I'm pleased with the sound and the tracklist. I recommend listening to the album in the order of the tracks; it’s like a soundtrack. I love the cover—it's a photo by my dear friend Tazio Jacobacci. After various trials and graphic ideas, this simple, minimalist photo with the right lighting felt perfect for Senza Estate.

What was the most challenging part of bringing the release together?

Absolutely the mixing process, because I produced the tracks at different times in my life and while setting up my home studio, using live instruments and drum percussion in post-production. Maybe it changed something, but this is always a messy job, as it is for all musicians. It’s not easy to be objective about your own work, at least not for me.

Are there other musicians on this LP that you would like to shout out?

Yes! Friends and musicians: my golden brother Daren Obika (vocals), Mario Filetti (flute on 'La Zingarella'), Antonio Calandra (acoustic drums on 'Club Rivera'), Daniele Salamone (keyboards on 'Marittimo'), Davide Santanocito (percussions), and of course, the sound engineer Orazio Magrì.

The title track, for me, epitomizes the feel of the whole album. The vocal is simply sublime, but I find myself aching for more of the vocal. Talk a little about your decision to be so sparing with the vox.

Your observation is correct; I wanted to include a vocal track in 'Falò,' for example. This doesn’t mean that there won’t be some tracks released in the future, not just the remix versions but also vocal ones. We’re working on it.

Is there a track on the album that is a favourite or is that too hard to say?

My favorite track is 'What You Need.' It’s a love song, a beautiful yet painful part of my life. I wrote the music starting from a sample on which I played a melody. It was perfect and sensual, a declaration of love. That same day, I sent the instrumental to Daren Obika. The next afternoon, he came to the studio. I shared with him how my life, for the first time, was devoted to another person, and how my pleasure was to give her pleasure in everyday life, from good morning to good night. She was my muse and made me a better man. At a certain point, Daren began writing and asked to record. The first take was perfect—one of those moments when you feel that the music and life you’ve chosen is the right choice. These moments fill you with joy and surprise you; they are rare. Even now, after that strange relationship has ended, it still evokes strong emotions in me.

When you are not in the studio, what might we find you doing?

You might find me in a secluded spot while reading a book. I enjoy taking long walks, whether on the beach or on Mount Etna, and I visit the market under my house every morning to do my shopping. An hour’s drive away, you can find Caribbean-like beaches where you can spend entire days in peace.

What else can we hope to see from My Friend Dario this year?

I'm working on the new album, some remixes, and the next Food For Woofers V.3. It includes live music and DJ sets

If you were not a musician, what else do you think you might have ended up doing?

I played water polo for many years and probably would have become a professional athlete if I hadn’t had an injury when I was a teenager. I was still a junior and it was common to train against the Italian women's national water polo team, a team that would go on to win World and European championships. During a play, two or three punches damaged my eye—scenes straight out of a horror film. I had to undergo surgery to avoid losing the eye and was forced to stop for many months. During that time, I played a lot with my jazz quartet and started organizing parties. By the time I recovered and resumed playing, my life had taken a different path.

What drives you to create music Dario?

I've always wanted and sought a way to express myself without filters. I am a shy, very reflective person, which sometimes limits me because it prevents me from acting and making instinctive choices. With music and my approach, which is always rooted in improvisation inherited from jazz, whether I’m composing in the studio, performing live, or doing DJ sets, I am able to be myself. It offers me a way to express my true self in a way I can't with words. Music is my Ikigai; it always saves me from dark, overwhelming moments and enhances the joyful ones.

What has been one of your favorite moments from the past year?

Summer 2023 still brings me nostalgia; it was a time full of travel, love, sharing, music, and personal growth. I learned a lot about myself and took action, changing for the better. Unintentionally, this season of 'Summer' has always held a special significance, and as I write this, I realize that the name of this album could not be anything else.

Where do you find the most inspiration when it comes to discovering new music?

From the past, if you can understand the music and society of earlier times, you can learn to be a humble artist and create good, genuine art.

Where do you think is the best place for us to listen to Senza Estate and what do you think we should be drinking?

When you're driving or taking the train on vacation, or when you return home and enjoy a glass of white wine while watching the sunset, you can savor Senza Estate.

Check out the latest release from My Friend Dario.

Check out the latest Dream Chimney mix from My Friend Dario.