Roberto Bosco is an Italian Dj-producer, sound designer and is part of the underground electronic scene. He started his career in 2007 by remixing the classic “Game One”, a collaboration with Juan Atkins and Orlando Voorn on Night Vision. Since then, he released Eps one after the other on notable labels such as Figure, Balance Music, Wave Music, ART, Kontakt Records, Seventh Sign Recordings… He also has several apparitions under different aliases as Intropective, Woods, Il Crononauta, Abstract Souls. In 2014, he founded, with his friend Antonio Pannullo aka Kiny, Last Drop Records which is an electronic music imprint; and in 2019 Sonorous Waves. From his studio, he shares his authentic and inclusive vision of techno music and looks back on his 80's and 90's influences until his experimental project named “Ichinen”. 

Welcome, a glass of? 
Beer!

What about your musical roots? 
I’m from Nocera Superiore, a small town in the province of Salerno. I didn’t grow up in an artistic family, nor did I have formal music education early on, but my passion for music has always been strong. About a year ago, I graduated in Sound Engineering from the Conservatory of Salerno, and now I’m finishing my studies in Electronic Music. When I first got into electronic music, many of my friends and people I knew were more into house, progressive house, or minimal sounds, which were popular at the time. I, however, felt naturally drawn to techno; there was something about its more futuristic and deeper sound that fascinated me. Although it wasn’t the most popular genre among DJs in my area, it was the one that resonated most with me.

Do you remember how you first discovered electronic music?
Honestly, I don’t! Maybe I first heard electronic tracks during the early days of the Internet. Living in a small town meant having to travel to hear electronic music live, and at the time, I was too young for that. So, my exposure started mostly online and grew from there.

Your main influences?
I would say Detroit Techno, but when I started making music, I didn't even know it existed. Of course, I must have listened to famous tracks by Rolando, Inner City, Derrick May and Mills music, but I didn't know they belonged to the Detroit Techno genre, just liked the music without asking what kind of genre it was. I have always been fascinated by melodies and atmospheres, but I couldn't say which type of music influenced me the most. I remember listening to my brothers' tapes when they weren't home; I think they were albums by Depeche Mode, Tears for Fears, Tupac... you know, the classics of the '80s and '90s.

Your first vinyl?
I'm not sure if it was a tribal record I bought at a store near my house, which has been closed for over 20 years, produced by some Italian artists whose names I can't remember, or if it was the records my sister brought back from London in the early 2000s: Acid-Techno, Rave music from '99-'00, including early tracks by Liebing, Dave The Drummer, Jamie Bissmire, Molecular  and others. I remember learning to mix with those records.

What prompted you to become a producer?
It was completely natural: since I was a child, I experimented with different software on my computer, and I think I have tried almost all of them. 

What are the main differences between Last Drop Records and Sonorous Waves?
The difference lies in the fact that Last Drop Records is the result of the friendship I have with Antonio Pannullo aka Kiny, in which we try to express our vision of music, while Sonorous Waves was initially born out of the need to release only my music, but that doesn't mean I will stick to this line, as I plan to invite artists I admire as well.

Your definition of Experimental Techno?
No Boundaries Music.

How did you link Orlando Voorn up? 
I think it was around 2005 or 2006. I simply sent my music to Orlando through the now-defunct social network MySpace. Luckily, Orlando appreciated what I was doing, giving me and other artists the chance to fulfill a dream: to release our records. He also brought together a mix of unknown and established artists to remix his iconic track 'Game One'—a collaboration with the godfather of Techno, Juan Atkins. I believe the music world needs more people like Orlando. At the time, I was completely unknown, with no releases, and I came from a remote village in southern Italy. In short, it was the opposite of what often happens today, where using all kinds of strategies on the web or securing Dj gigs through connections and favors has become commonplace; meritocracy now seems almost utopian.

So, Underground forever?
Yes, my philosophy is different. In the underground, there are values more important than business—music, and, above all, people. The human side of an artist is often more essential than their music. Those who create music should never feel like mere products or relentless machines, but as human beings with a soul, expressing their vision and emotions through musical notes. Many of these feelings are hard to express in daily life, making music a powerful outlet where highly personal and interesting ideas can emerge. Through music’s power, I’ve had the privilege to collaborate with legends of Techno and House without business plans or investments. I wish the new generation understood that they can achieve this too, without elaborate marketing strategies or gimmicks; just by being true to themselves.

Your favorite gears?
It's hard to say; I miss my Moog, which I unfortunately no longer have. However, as you can see from the videos I post on Instagram, I use Elektron machines, and in addition, I have recently gotten a sampler that is giving me a lot of fun: the SP 404-MKII by Roland. But for sure, the best tool I have in the studio is my computer.

Did your way of producing changed since your beginning?
Absolutely, considering that 90% of my records were produced only with a computer and software, but for about 10/12 years now, I have approached hardware. Honestly, I consider the computer to be the perfect machine to do whatever you want, but sometimes it’s nice to have a more human touch and to release your music through machines. Additionally, I use totally different techniques both during the creative process and in mix.

How did the label Figure approach you?
I simply sent my music to the main email of Figure, and Len replied enthusiastically.

What about "Ichinen"? 
This project is a sonic journey created alongside Antonio Pannullo; Ichinen arises from a friendship that finds its truest expression in music. Every note, every chord, is a shared fragment of time. As you listen, you can feel the steady flow of years, the joys and sorrows, the hopes and fears that have shaped our path. Ichinen is an invitation to explore the depths of the human soul, to face one’s shadows, and to celebrate the beauty of friendship.

A quality track in 3 words?
Dynamic, Deeper, Soulful. 

The vinyl for you?
It represents something special because it engraves the history and emotions of someone who has tried to express themselves in musical notes.

Your favorite format?
I prefer vinyl, and I’ll tell you why: selecting vinyl gives you the opportunity to add more personality to your DJ sets, especially for someone like me who doesn’t buy records systematically. Over time, I’ve learned to purchase only the records that truly inspire me, so I never sell them again. Therefore, I avoid accumulating records that would just take up space. I know people who buy everything and end up with a pile of records they'll never play or even know much about. Nowadays, we have the very convenient formats like mp3 or wav, where you can carry thousands of records on a single USB stick. In contrast, with vinyl, every choice is made more carefully. I don’t like loading too much for a DJ set, just the essentials. Plus, vinyl is heavy, which makes you really think about your selection. The rest of my music, like promos or unreleased tracks, I carry on a USB stick.

Are you still diggin’ vinyl?
Unfortunately, I don't dig for vinyl as much anymore. I mostly buy records online now and have only visited a few record stores since I started collecting. I remember usually going with one of my best friends, Tommaso (Kiny's brother), to a store in Naples called Circuito, which was the only physical store I knew that carried techno music. However, the first place where I found a wide variety of music I really loved was the online store JUNO.CO.UK. I can also recommend a great record store near my home, Ottagono Design of Music, which specializes in Japanese music, techno, and house records.

The Dj that puts you crazy systematically?
In the past, I was deeply inspired by Dave Clarke and François K, they are the first two names I have in mind. Two different types of Djs who influenced me greatly in both the art of Djing and music production. Nowadays, I don’t listen to many Dj sets since I don’t attend clubs or festivals much. I prefer staying in the studio to produce new music and occasionally going out to perform when I get the chance.

Without music...
Simple…would not be a Life.

Mountain or sea?
Both, but if I have to make a choice, I prefer Sea!

Your top 5 new releases?
At the moment, it’s quite difficult for me to pick five records that genuinely excite me, especially in the Techno genre, where I personally find limited innovation. I haven’t been following much of the scene either, as I’m very busy in the studio and prefer not to be influenced by current trends. That said, there are some artists I’ve followed for years and a few new discoveries who, fortunately, are releasing work that resonates with my taste:
. Kirk Degiorgio "The Statement"
. As One "AsOne²"
. Queen Of Coins "Queen Of Coins" 
. Ok Matthew "Control Voltage"
. Dialog "DOT 3"

Your top 5 oldies? 
Here are just the first five out I have in mind, but there’s many of it that I really love:
. Marco Carola "Open System"
. Underground Resistance "The Final Frontier"
. Los Hermanos "On Another Level"
. Monolake "Hong Kong"
. Aril Brikha "Art Of Vengeance"

Your projects and something to add?
I have several projects, including non-musical ones. Thanks to my studies at the Conservatory of Salerno, I am deeply exploring the visual programming software Max/MSP, with which I work with sound but, more importantly, being passionate about graphics, I am learning to use extensions like Jitter and Gen to create 3D videos. As for my musical projects, they are all works in progress. I really want to release my music, but I am waiting for the right moment to do so. Additionally, Kiny and I have resumed our project "Ichinen".

Interviewed by Sabrina Bouzidi