This track is a postcard from Morocco. I wandered around Marrakech with my iPhone, sampling anything and everything, then used the sounds to build a techno piece that hopefully captures something of the city

For the first track of 2026, I wanted to create something simple and clean. I also thought it would be a positive move to get my head out of my ass and connect with someone else’s music. Which feels to me like a good decision.

This track underlined something I’ve learned the hard way: What actually stalls me is a reluctance to recalibrate how I work: habits that feel comfortable even when they’re not serving the music.

Sometimes all it takes is a few days away, perfect weather and a simple 18th-century palazzo in Umbria with fresco-lined rooms, sweeping grounds, and long views over Umbria and Tuscany.

This track began with good intentions and bad instincts. I wanted a simple, hypnotic techno piece that felt light on its feet. Instead, Esser lieto felt constipated and oddly incoherent. This is how I fixed it.

I trapped myself in a self-imposed cage with Chi si passa — just two tools, infinite variations, and no idea when to stop. The track drowned in options until I learned to subtract instead of add. This is how constraint became clarity.

Mea culpa had everything it needed from the start: a sharp bass motif and a bed of field-recorded percussion. But the low end was a traffic jam, and nothing could breathe. Once I sorted the frequencies, the groove finally showed up.

Non v'è certezza was supposed to be ambient spa music. For eighteen months, I forced it to stay calm. The moment I let it groove, everything clicked — but now it felt like scenes, not a song. This is how I built one world to hold them all.