Francesco aka Frank aka Di Saronno has been around the music community since back in 2004, clocking up a hugely impressive discography with labels like Slated, Dopewax, King Street, Plastic People and more and an equally stella like of collaborations with house music and deep house royalty. After a recent break from the limelight, Di Saronno returns to chat and drops a guest mix too.
Firstly, I wanna say thanks for the patience on having me for this interview, really appreciate the job on this platform continuously expanding and specially the constant support you giving to new talents and rising artists like me.
Everything started from one night with my friends in Milan (Italy) after few shots of this blended liquor and some disco-funk music in the background. Felt in the mood to create something sophisticated. Di Saronno started as an experiment back in 2017! Decided to make some old-school house and retro-disco edits just for fun, and perhaps he really enjoyed doing’ them and he couldn’t stop anymore.
You’ve gone on to release on labels like Plastic People and of course Salted Music - what influences your choice on labels?
Well, it’s always an hard choice depending of the fruit and the mood of the moment. The project has been spacing itself during the last 2 years from disco-sampled cut to a deeper vision, and sometimes reforming in various sub-genres of house. I listen a lot of music from the past, and I’m still doing physical and digital crate digging to see what could be a potential idea for the next record. So the core of the sample give me the spin to develop the record in a proper direction, and then once complete it will lead me to choose the most appropriate imprint. Marc Cotterell and Miguel Migs are two pioneers for the US deep underground scene, so I felt compelled to get their respect and appreciation.
What were you early influences getting into music?
My dream as kid was to be a successful football player, then suddenly at age of 14 I got in contact with music, turned on by the scratches techniques on various MTV videoclips. So I was just seeing myself doing that one day, unaware of what the figure of the DJ and producer really was. It was just cool to see that, I remember well RUN DMC “It’s Like That”, Wu-Tang-Clan, De La Soul, Afrika Bambaata.
Before getting into house, I was fan and still I am of Italodance 90’s early 00’s, as I’m one the biggest and vinyl collectors for that genre. Italian radios and Italian TVs festivals during those years were promoting only original Italian made dance music, and so our teenage years were completely influenced from that trend. Then suddenly from 2004/2005 onwards my attention was naturally deviated to another space. That’s where I start to discover proper artisans like Daft Punk, Basement Jaxx, Deep Dish, MAW, Johnick, Mood II Swing, MURK, Junior Jack, Kerri Chandler, DJ Sneak, Todd Terry, Robbie Rivera, Ian Carey, Eddie Amador, Armand Van Helden, Ian Pooley, Todd Edwards, Phats & Small, Michael Gray (Full Intentions), the first Axwell (wow! Can’t believe I’m saying that, but most of you should know the gems this guy was producing in those years) and many others. Maturity in the music scene did the rest, always chasing new and getting stuck to that.
Would you describe your musical style?
I Briefly mentioned that everything started as a disco-sampled solo project. Old-school and retro-disco house edits made for fun.
The first single “Taste Of Joy” where I sampled a 2004 Just Can't Wait (Saturday) by 100% feat. Jennifer John released on Gary Caos’ Casa Rossa label received a lot of positive feedbacks and got charted in the yearly’s Beatport best ADE Picks. Just before the official release, I got invited by Gary for the Casa Rossa WMC Showcase during the Miami Music Week, during the rooftop party, the track was premiered and the impact on the people gave me the right positive spin, convincing myself to continue with the project, delivering 2 more follow-up “Love Shower” the most played in the streaming platforms, and Chance’s tribute “Glowing Eyes” both once again on Casa Rossa.
Once I got in first contact with Mood Funk’ boss Angelo Ferreri, my orientation completely turned to a different prospective about house music, that’s how I learnt of various sub-genres like Jackin’ House. Raw Chicago House and Deep is something that I have been working in the last year, and you still have a lot incoming to hear. Continuosly evolving within the parameters.
For who doesn’t know I’m also running another glam nu disco project known as “Mindbuster”, founder of the old school house team “Houseswingers” and in second line supporter the of the Milan’s multifaceted and funk-fueled music project “Body Heat” ;)
Which do you see yourself as most - DJ or Producer?
As not many knows, Di Saronno is a spin-off project, and the only official presence I did on decks with this aka, was the premiere of my record “Eastside Funk” for the project Body Heat beside Rocoe, on a party boat in Como Lake (Italy) early summer 2018 <3
For the rest, I can say that working in the studio for the last 15 years, for myself and others, concentrating a lot on my underground tech-house and techno main stage acts like “Francesco Ferraro” and “Vanity Crime” brought me to play my music all around the world (US, Europe, Mexico, Australia).
Favorite place to DJ?
Definitively the best debut as Dj “Di Saronno” it should necessarily be Italy, hopefully I already see myself in smoking playin’ at some fashion kick off party, who knows? Time will tell :D
There isn’t a favorite place I classify the best where I been djing. I tell you why, every country, every club or side pool or rooftop, have their own identity, the crowd which always frequents this variety of place, always bring their own energy and make the place unique for what it is.
As a producer how do you find inspiration for new music?
Like most of Italians we are also a big fan “the art of sampling”, been studying how the biggest worldwide hits came from samples from 60’s, 70’s, 80’s. They are our biggest superstars. No one else! Much respect for the originality, hard working and perseverance of those years. What we do is pretty much bringing some of this treasure back to life, giving them tribute in our own way.
What’s your production setup?
I’m not fan of having a lot gears in the studio, just the essentials as I like to keep everything simple.
Since J Dilla introduced it to my generation, the indispensable piece of gear that I always loved is my AKAI MPC Studio. Chopping samples with phat style, has been always my signature. I’m a very friendly Ableton Live user, part of my setup includes also an Arturia Analog Experience Mini-Key Lab with V-Collection Series plugins and Focusrite Scarlet, all accompanied with a Disaronno on the rocks.
In the shopping list there’s a Moog Minitaur, and an Alesis e-Drum Kit.
How do you work in studio - do you plan tracks or you just go and work something out there?
There are a lot of self-requirements has to been satisfied before step into production. That’s why I prefer to divide the process in various steps during the day. There’s the morning routine where I completely rest, and slowly wake up with lounge jazz. Then the early afternoon after lunch is the moment I’m focusing a lot digging into old records, just a couple of hours. Could be a day where I found 10, and a day where I found nothing. Mostly few of them give me the potential to start something over. During my cardio at the beginning and the end of gym workout I feel exactly if I should proceed with it. Evening is completely for myself, living the moment with some romance. Late night is where the magic starts, AKG plugged into my Scarlet, AKAI at her brightest leds, and full immersion into Ableton Live. The best tracks I managed to create in approx.1-2 hrs. The digital mix and master processes are always something I may do next day once I’m fully happy with the outcome, or depending labels requirements or deadlines.
You’ve worked with lots of people on remixes - what makes a great collaboration for you?
There is always complicity when I get involved in serious collaborations, like for example latest with US House legends Eddie Amador, JohNick, DJ Romain, Victor Simonelli and DJ Dan. Everything started simply with support then evolved in reciprocal respect, and the will to trying to develop something together in studio, even if on the other side of the globe, but always connected mentally to the goal.
Every time is a satisfaction when I get into the consideration or even achieve the respect of someone I have been idolating during my path. I had the honor to meet personally the maestro Kerri Chandler, previously mentioned as one of my most precious influences since I got into house music. Thanks to this introduction I was able to work on official remix for him on King Street Sounds. Same happened with other two icons: Dennis Ferrer and Ronald Clark both met at WMC a couple of years ago.
There’s this curious self-fact that once I’m bumping someone or a casual meet, by any chance I will get involved in something musically related like: a collaboration, a remix or to be signed by the label. This fact always gives me goosebumps. Curious story in Ibiza seeing Todd Terry and Mousse T. shaking their hands during the warm-up djing at a Glitterbox party in 2019. In the same year I managed to sign an unreleased live bootleg for Todd on InHouse and a Mindbuster track to be personally selected for the Mousse T.’s Peppermint Jam Files vol.4.
In my radar, I hope in the near future to get the chance to collaborate beside legends like: DJ Sneak, DJ W!LD, Phil Weeks, Oliver Dollar, Ian Pooley, John Ciafone, Jon Cutler, Tuccillo and J. Paul Getto.
Top tips for aspiring producers, remixers?
It’s never too late for mature djs to get into production and remixing. You won’t realize that most already got the basics to do that, due to continuous accumulation of miscellaneous ideas that is already in their heads. Something really interesting may come out at the first take. I say this because is something I already experienced a couple of collaborators, stepping for the first time in studio, and before weren’t involved at all in this field. Overall in 2004 I started as remixer, because I think was the easiest way to access into the “production” phase, and the objective was just to understand how to disassemble and rebuild a pre-made track with what you had available, and of course have the courage add more without crippling the essence of the original source.
What’s your favorite of your own of all the time - the one that never grows old?
I don’t have a specific favorite tune, but I can highlight that some tunes defined the evolution of this project and every year has been a change. The first one “Taste Of Joy” and “Can’t Sleep Anymore” still sounds actual nowadays, and they represented my ability of been able to do funky house music after many year producing tech house and underground techno.
“Chez Vous” and “The Butler’s Joint” are those instead that opened me up the doors to a melodic, deeper and melancholic vision.
“One Million Roses” and “I Don’t Know Why I Love You” most actual products that are defining exactly what’s in my mind right now, and probably next records will be in the same sound line with a touch of live elements (like Disclosure or The Avalanches for example)
What’s been the highlights of your career so far?
Di Saronno career is still on development, and in these 3 years I didn’t expect my records to achieve the levels so fast.
Surprised when artists like Kenny Dope, Todd Terry, Roger Sanchez, DJ Spen were spotted to support tracks that I thought completely out of their standards, but well… you have their charts and tracklist as proof now! :)
What other producers are killing it for you right now - tracks you are playing and loving?
There are so many producers in the scene, and not all of them I manage became simply friends and close collaborators.
Won’t hide the deep esteem for the following:
“DJ W!LD” has a rare skill of evolving as an artist (both as a performer and a producer), meaning he has kept up with trends and remained relevant, whilst never compromising his art, an instinct for the cool and erotic in fashion, style and music. Loving all his past Robsoul and recent W Label tunes.
“Oliver Dollar” a bed-room dj like all of us, finding himself headlining a continuous success with his massive cheeky house cuts.
“Tuccillo” wow! his House Of Tucci vol.1 EP drives me insane, a product where the right combination of elements makes a supreme outcome.
“Adryiano” and “Black Loops” always surprises me with their coldness which they release EPs widely ranging from piano house to deep trance of pure quality. “Oh My Side Oh My Side Oh My Oh My Side” <3 “Demuir” with his variety of “rawness beats”, catch my interest only in the last year, so I feel to keep digging into the past of this artist, whom classics still sounds actual in all of my sets. “Mi Nah Chase Pum Pum” on Sneak’s Magnetic is a must play.
“Tripmastaz” and “Kenny Summit” great skills and production technique, for my side two of the best in the market right now, forged by genial deep and old school masters like DJ Sneak and the great Frankie Knuckles.
How has the pandemic impacted your music, connecting with fans, labels and the like?
I was lucky/unlucky enough to find myself on the cruise ship I work as deck officer from January til July. Last 3 months were the most difficult ones, with the ship anchored off Manila in Philippines, with no chance to step out from it. I had to align and re-evaluate a lot of choices for present and future as person and musician, promising myself to appreciate and enjoy simple things in life, after all the hard working I been through together with my colleagues. We had to keep our brain sane in some way, and limitations in the workplace gave us the right concentration and motivation to focus on our separate hobbies. Gym and
Ableton were my best friends overall. Took me quite a lot to self-adapt with the real world, where luckily my beloved family and friends co-operated to make things easier.
What can the listeners expect from this guest mix?
Hope you will enjoy the mixtape. I recorded it live in studio with all my pleasure. I took my time machine surfing to the past-present-future and including a prestigious combo of some unreleased from my side projects, merging everything strategically in 1 hour of deep twisted house. A lot of upcoming jams on the way, keep yourself up to date on my Facebook page, Instagram and Soundcloud. Grazie Mille and Cheers to that ;)
Where can people follow you?
Firstly, I wanna say thanks for the patience on having me for this interview, really appreciate the job on this platform continuously expanding and specially the constant support you giving to new talents and rising artists like me.
Everything started from one night with my friends in Milan (Italy) after few shots of this blended liquor and some disco-funk music in the background. Felt in the mood to create something sophisticated. Di Saronno started as an experiment back in 2017! Decided to make some old-school house and retro-disco edits just for fun, and perhaps he really enjoyed doing’ them and he couldn’t stop anymore.
You’ve gone on to release on labels like Plastic People and of course Salted Music - what influences your choice on labels?
Well, it’s always an hard choice depending of the fruit and the mood of the moment. The project has been spacing itself during the last 2 years from disco-sampled cut to a deeper vision, and sometimes reforming in various sub-genres of house. I listen a lot of music from the past, and I’m still doing physical and digital crate digging to see what could be a potential idea for the next record. So the core of the sample give me the spin to develop the record in a proper direction, and then once complete it will lead me to choose the most appropriate imprint. Marc Cotterell and Miguel Migs are two pioneers for the US deep underground scene, so I felt compelled to get their respect and appreciation.
What were you early influences getting into music?
My dream as kid was to be a successful football player, then suddenly at age of 14 I got in contact with music, turned on by the scratches techniques on various MTV videoclips. So I was just seeing myself doing that one day, unaware of what the figure of the DJ and producer really was. It was just cool to see that, I remember well RUN DMC “It’s Like That”, Wu-Tang-Clan, De La Soul, Afrika Bambaata.
Before getting into house, I was fan and still I am of Italodance 90’s early 00’s, as I’m one the biggest and vinyl collectors for that genre. Italian radios and Italian TVs festivals during those years were promoting only original Italian made dance music, and so our teenage years were completely influenced from that trend. Then suddenly from 2004/2005 onwards my attention was naturally deviated to another space. That’s where I start to discover proper artisans like Daft Punk, Basement Jaxx, Deep Dish, MAW, Johnick, Mood II Swing, MURK, Junior Jack, Kerri Chandler, DJ Sneak, Todd Terry, Robbie Rivera, Ian Carey, Eddie Amador, Armand Van Helden, Ian Pooley, Todd Edwards, Phats & Small, Michael Gray (Full Intentions), the first Axwell (wow! Can’t believe I’m saying that, but most of you should know the gems this guy was producing in those years) and many others. Maturity in the music scene did the rest, always chasing new and getting stuck to that.
Would you describe your musical style?
I Briefly mentioned that everything started as a disco-sampled solo project. Old-school and retro-disco house edits made for fun.
The first single “Taste Of Joy” where I sampled a 2004 Just Can't Wait (Saturday) by 100% feat. Jennifer John released on Gary Caos’ Casa Rossa label received a lot of positive feedbacks and got charted in the yearly’s Beatport best ADE Picks. Just before the official release, I got invited by Gary for the Casa Rossa WMC Showcase during the Miami Music Week, during the rooftop party, the track was premiered and the impact on the people gave me the right positive spin, convincing myself to continue with the project, delivering 2 more follow-up “Love Shower” the most played in the streaming platforms, and Chance’s tribute “Glowing Eyes” both once again on Casa Rossa.
Once I got in first contact with Mood Funk’ boss Angelo Ferreri, my orientation completely turned to a different prospective about house music, that’s how I learnt of various sub-genres like Jackin’ House. Raw Chicago House and Deep is something that I have been working in the last year, and you still have a lot incoming to hear. Continuosly evolving within the parameters.
For who doesn’t know I’m also running another glam nu disco project known as “Mindbuster”, founder of the old school house team “Houseswingers” and in second line supporter the of the Milan’s multifaceted and funk-fueled music project “Body Heat” ;)
Which do you see yourself as most - DJ or Producer?
As not many knows, Di Saronno is a spin-off project, and the only official presence I did on decks with this aka, was the premiere of my record “Eastside Funk” for the project Body Heat beside Rocoe, on a party boat in Como Lake (Italy) early summer 2018 <3
For the rest, I can say that working in the studio for the last 15 years, for myself and others, concentrating a lot on my underground tech-house and techno main stage acts like “Francesco Ferraro” and “Vanity Crime” brought me to play my music all around the world (US, Europe, Mexico, Australia).
Favorite place to DJ?
Definitively the best debut as Dj “Di Saronno” it should necessarily be Italy, hopefully I already see myself in smoking playin’ at some fashion kick off party, who knows? Time will tell :D
There isn’t a favorite place I classify the best where I been djing. I tell you why, every country, every club or side pool or rooftop, have their own identity, the crowd which always frequents this variety of place, always bring their own energy and make the place unique for what it is.
As a producer how do you find inspiration for new music?
Like most of Italians we are also a big fan “the art of sampling”, been studying how the biggest worldwide hits came from samples from 60’s, 70’s, 80’s. They are our biggest superstars. No one else! Much respect for the originality, hard working and perseverance of those years. What we do is pretty much bringing some of this treasure back to life, giving them tribute in our own way.
What’s your production setup?
I’m not fan of having a lot gears in the studio, just the essentials as I like to keep everything simple.
Since J Dilla introduced it to my generation, the indispensable piece of gear that I always loved is my AKAI MPC Studio. Chopping samples with phat style, has been always my signature. I’m a very friendly Ableton Live user, part of my setup includes also an Arturia Analog Experience Mini-Key Lab with V-Collection Series plugins and Focusrite Scarlet, all accompanied with a Disaronno on the rocks.
In the shopping list there’s a Moog Minitaur, and an Alesis e-Drum Kit.
How do you work in studio - do you plan tracks or you just go and work something out there?
There are a lot of self-requirements has to been satisfied before step into production. That’s why I prefer to divide the process in various steps during the day. There’s the morning routine where I completely rest, and slowly wake up with lounge jazz. Then the early afternoon after lunch is the moment I’m focusing a lot digging into old records, just a couple of hours. Could be a day where I found 10, and a day where I found nothing. Mostly few of them give me the potential to start something over. During my cardio at the beginning and the end of gym workout I feel exactly if I should proceed with it. Evening is completely for myself, living the moment with some romance. Late night is where the magic starts, AKG plugged into my Scarlet, AKAI at her brightest leds, and full immersion into Ableton Live. The best tracks I managed to create in approx.1-2 hrs. The digital mix and master processes are always something I may do next day once I’m fully happy with the outcome, or depending labels requirements or deadlines.
You’ve worked with lots of people on remixes - what makes a great collaboration for you?
There is always complicity when I get involved in serious collaborations, like for example latest with US House legends Eddie Amador, JohNick, DJ Romain, Victor Simonelli and DJ Dan. Everything started simply with support then evolved in reciprocal respect, and the will to trying to develop something together in studio, even if on the other side of the globe, but always connected mentally to the goal.
Every time is a satisfaction when I get into the consideration or even achieve the respect of someone I have been idolating during my path. I had the honor to meet personally the maestro Kerri Chandler, previously mentioned as one of my most precious influences since I got into house music. Thanks to this introduction I was able to work on official remix for him on King Street Sounds. Same happened with other two icons: Dennis Ferrer and Ronald Clark both met at WMC a couple of years ago.
There’s this curious self-fact that once I’m bumping someone or a casual meet, by any chance I will get involved in something musically related like: a collaboration, a remix or to be signed by the label. This fact always gives me goosebumps. Curious story in Ibiza seeing Todd Terry and Mousse T. shaking their hands during the warm-up djing at a Glitterbox party in 2019. In the same year I managed to sign an unreleased live bootleg for Todd on InHouse and a Mindbuster track to be personally selected for the Mousse T.’s Peppermint Jam Files vol.4.
In my radar, I hope in the near future to get the chance to collaborate beside legends like: DJ Sneak, DJ W!LD, Phil Weeks, Oliver Dollar, Ian Pooley, John Ciafone, Jon Cutler, Tuccillo and J. Paul Getto.
Top tips for aspiring producers, remixers?
It’s never too late for mature djs to get into production and remixing. You won’t realize that most already got the basics to do that, due to continuous accumulation of miscellaneous ideas that is already in their heads. Something really interesting may come out at the first take. I say this because is something I already experienced a couple of collaborators, stepping for the first time in studio, and before weren’t involved at all in this field. Overall in 2004 I started as remixer, because I think was the easiest way to access into the “production” phase, and the objective was just to understand how to disassemble and rebuild a pre-made track with what you had available, and of course have the courage add more without crippling the essence of the original source.
What’s your favorite of your own of all the time - the one that never grows old?
I don’t have a specific favorite tune, but I can highlight that some tunes defined the evolution of this project and every year has been a change. The first one “Taste Of Joy” and “Can’t Sleep Anymore” still sounds actual nowadays, and they represented my ability of been able to do funky house music after many year producing tech house and underground techno.
“Chez Vous” and “The Butler’s Joint” are those instead that opened me up the doors to a melodic, deeper and melancholic vision.
“One Million Roses” and “I Don’t Know Why I Love You” most actual products that are defining exactly what’s in my mind right now, and probably next records will be in the same sound line with a touch of live elements (like Disclosure or The Avalanches for example)
What’s been the highlights of your career so far?
Di Saronno career is still on development, and in these 3 years I didn’t expect my records to achieve the levels so fast.
Surprised when artists like Kenny Dope, Todd Terry, Roger Sanchez, DJ Spen were spotted to support tracks that I thought completely out of their standards, but well… you have their charts and tracklist as proof now! :)
What other producers are killing it for you right now - tracks you are playing and loving?
There are so many producers in the scene, and not all of them I manage became simply friends and close collaborators.
Won’t hide the deep esteem for the following:
“DJ W!LD” has a rare skill of evolving as an artist (both as a performer and a producer), meaning he has kept up with trends and remained relevant, whilst never compromising his art, an instinct for the cool and erotic in fashion, style and music. Loving all his past Robsoul and recent W Label tunes.
“Oliver Dollar” a bed-room dj like all of us, finding himself headlining a continuous success with his massive cheeky house cuts.
“Tuccillo” wow! his House Of Tucci vol.1 EP drives me insane, a product where the right combination of elements makes a supreme outcome.
“Adryiano” and “Black Loops” always surprises me with their coldness which they release EPs widely ranging from piano house to deep trance of pure quality. “Oh My Side Oh My Side Oh My Oh My Side” <3 “Demuir” with his variety of “rawness beats”, catch my interest only in the last year, so I feel to keep digging into the past of this artist, whom classics still sounds actual in all of my sets. “Mi Nah Chase Pum Pum” on Sneak’s Magnetic is a must play.
“Tripmastaz” and “Kenny Summit” great skills and production technique, for my side two of the best in the market right now, forged by genial deep and old school masters like DJ Sneak and the great Frankie Knuckles.
How has the pandemic impacted your music, connecting with fans, labels and the like?
I was lucky/unlucky enough to find myself on the cruise ship I work as deck officer from January til July. Last 3 months were the most difficult ones, with the ship anchored off Manila in Philippines, with no chance to step out from it. I had to align and re-evaluate a lot of choices for present and future as person and musician, promising myself to appreciate and enjoy simple things in life, after all the hard working I been through together with my colleagues. We had to keep our brain sane in some way, and limitations in the workplace gave us the right concentration and motivation to focus on our separate hobbies. Gym and
Ableton were my best friends overall. Took me quite a lot to self-adapt with the real world, where luckily my beloved family and friends co-operated to make things easier.
What can the listeners expect from this guest mix?
Hope you will enjoy the mixtape. I recorded it live in studio with all my pleasure. I took my time machine surfing to the past-present-future and including a prestigious combo of some unreleased from my side projects, merging everything strategically in 1 hour of deep twisted house. A lot of upcoming jams on the way, keep yourself up to date on my Facebook page, Instagram and Soundcloud. Grazie Mille and Cheers to that ;)
Where can people follow you?