INTERVIEW: Giorgio Fazio shares debut single

Hailing from Lugano in Switzerland, Giorgio Fazio is a Creative Director whose recently stepped out as a solo artist to bring his musical vision to life. Having spent years shaping sonic identities for brands and commercial projects, he’s no stranger to the intersection of storytelling and sound design.

But beyond structured briefs and curated concepts, music has always been his truest form of expression. Now, moving away from the world of commercial soundscapes, Giorgio ventures into his own artistic sphere, blending electronic experimentation with emotion.

Bringing a designer’s mindset into music production, he approaches sound much like he does visual storytelling, by breaking patterns, rebuilding structures and forging immersive experiences. His work draws influence from electronic music, deconstructed club, ambient electronica and footwork, resulting in compositions where distorted basslines, fragmented grooves and cinematic tension collide.

Now, Giorgio introduces his own musical world with his debut single, “No One Should Ever Die,” a reflective and immersive electronic piece that blends chopped vocals, deep basslines and atmospheric synths to create a space where nostalgia meets movement. Pulsing between downtempo rhythms and bass-driven grooves, the song distils an intricate balance between reflection and physical energy with its melodies and textures designed to evoke a sense of longing.

Jumping straight in with the fluttering rattle of percussion textures and warm synth tones, airy vocalisations enter to drift across the enveloping atmosphere as the tension gradually swells. As the beat drops, the track shifts into an uptempo dance-focused experience driven by punching drums and bright synths, resulting in an invigorating electronic soundscape.

With intricate ebb and flow, rhythm switch ups and engaging twists and turns, the finale delivers stuttered percussion and a stunning blend of instrumental elements and vocal shots to cast a memorable conclusion to the track. Highly original and thrilling from start to finish, it’s a sensational first outing from a visionary producer who marks his arrival in spectacular fashion.

We caught up with Giorgio Fazio to find out more about his musical journey so far, his debut single “No One Should Ever Die” and what he’s got lined up for the future. Check out our interview with Giorgio Fazio below and stay up to date with his work via his website here.

Hey Giorgio, how’s things?

Hey! All good, thanks for having me. I’ve been busy with new music and exploring different creative directions, so it’s been an exciting time.

What’s your earliest memory of making music?

I owe a lot to my older brother, Gianluigi. Growing up, I spent countless nights in our room watching him produce music in the early 2000s. I was just a kid, but I was fascinated by how he worked with Pro Tools and built tracks from scratch. That’s where my curiosity for sound really started. Over the years, music has always been present in my life, even if I took my time before deciding to release my own work.

Which artists do you draw most inspiration from?

I’ve listened to an insane amount of music over the years, but Björk was one of my earliest inspirations. Her ability to blend experimental sounds with raw emotion has always fascinated me. Production-wise, I really admire Cashmere Cat. His early SoundCloud era reshaped modern production in ways many people might not even realise. I was there back in 2012, and his approach to sound design was mind-blowing.

How else do you find inspiration for your music?

A lot of it comes from textures and environments. I love capturing sounds from my surroundings, random noises, distorted echoes, anything that feels organic but can be transformed into something else. I use an old Tascam recorder to collect sounds, which I then manipulate in Ableton using Granulator II to create evolving layers. Emotionally, I think inspiration comes from moments of isolation, reflection, and trying to translate those feelings into something tangible.

What was your highlight of the year for 2024?

Definitely stepping out as an artist with my first official release. I’ve spent years working behind the scenes as a creative director, shaping other projects, but finally putting my own music out there felt like a huge personal milestone.

What do you love about your local music scene?

Lugano is a small city, especially compared to places like Milan or Berlin, so the music scene isn’t as expansive. However, there are a few artists I really respect. One of them is Hunter/Game, a DJ duo with an international reputation in melodic techno. Through my work at Valuart, where I’m the creative director, I had the opportunity to curate the creative direction for their latest album Vision as well as their live show. It was a great experience bringing their sonic world into a strong visual and conceptual identity.

Another artist I really admire is Ele A. I don’t know her personally, but she’s making serious moves. Lugano is in Switzerland, but in the Italian-speaking region, so the music scene here has a unique dynamic. Since Ele A raps in Italian, she’s strategically carving her space in the Italian music market, and doing it successfully. She’s gaining recognition and gradually putting Lugano on the map within the Italian rap scene, proving that even from a smaller city, it’s possible to break into a much bigger industry.

What would you say is the perfect setting for listeners to enjoy your sound?

Somewhere between movement and stillness. My music has a hypnotic, immersive quality, so I imagine it fitting late-night drives, introspective moments, or even being played in a dark club setting where people can just lose themselves in the atmosphere.

How has your own style and sound evolved since you started out?

I’ve become more intentional with space and restraint in my music. Early on, I used to layer a lot of elements, trying to fill every gap, but now I appreciate letting certain sounds breathe. I focus on building emotion through subtle shifts rather than overwhelming arrangements.

Who would be your dream artist to collaborate with?

Bladee and Yung Lean. I got really into Psykos last year, and I love how they merge surreal melodies with melancholic energy. There’s something hypnotic about their sound that resonates a lot with me.

How did you find making your new single No One Should Ever Die?

It was a deeply personal experience. The track is built around memory, loss, and the emotions that linger in spaces people leave behind. I wanted it to feel immersive yet nostalgic, with rhythm and textures blending movement and reflection.

What message did you want to get across with this release?

No One Should Ever Die is about presence and absence, how certain moments, places, and people leave an imprint that lingers beyond time. Sonically, I wanted it to feel like a space between nostalgia and movement, where emotion is carried through shifting textures and hypnotic rhythms. It’s an introspective track, but one that still breathes and evolves.

What artist have you been listening to most recently?

Lately, I’ve been diving deep into Burial again. His ability to create entire atmospheres out of fragmented, ghostly elements is something I always find inspiring. There’s a rawness in his work that feels so human despite being built on deconstructed club sounds. Also, I’ve been listening to a lot of Arca, her sonic world is completely unpredictable, which keeps me coming back.

What’s the main thing you want people to get out of listening to your music?

I want people to feel immersed, like they’re stepping into a different space emotionally and sonically. My music is built around subtle shifts, layers that evolve, and textures that can be both intimate and vast. If someone listens and feels like they’ve gone somewhere, even just for a moment, that’s all I could ask for.

What’s been your favourite live performance so far?

I haven’t seen them live in person yet, but I was really struck by Sinjin Hawke and Zora Jones’ AV show through social media. Their ability to merge futuristic visuals with intensely detailed sound design is on another level. The way they build an immersive digital experience makes their performances feel like something beyond a typical live set, it’s more like stepping into a fully realised audiovisual world.

Who would be 3 artists to headline your dream festival? And where would it be?

Björk, because she’s the ultimate sonic visionary. Bladee, because his whole aesthetic and sound feel like a transmission from another dimension. And Aphex Twin, because I don’t think you can top that level of unpredictability in a live setting. As for the location, somewhere unconventional, maybe an open-air venue in Iceland or an abandoned brutalist structure turned into a massive sound installation.

Do you have any advice for a new artist wanting to follow your footsteps?

Don’t overthink your releases. I spent years working behind the scenes, perfecting things endlessly, and looking back, I wish I had started putting music out sooner. Also, let imperfections be part of your sound, sometimes, the rawest, most unpolished moments are the ones that resonate the most.

Finally, what do you have lined up for the rest of the year?

I’ve just released It Felt Like Fire (But I Think It Was Just You), which is a more dynamic, emotionally charged track with a hypnotic progression. Moving forward, my goal is to release at least one track per month, exploring different sonic directions while keeping everything cohesive. I want to keep experimenting, evolving, and building a sound that feels true to where I’m at creatively.

Listen to No One Should Ever Die below