A nebulous, multi-faceted figure, Giorgio Fazio weaves his professional career as a Creative Director with his deep-rooted passion for the aural medium, birthing a cathartic, kaleidoscopic project that has recently come alive with ‘No One Should Ever Die’. Marking Fazio’s debut effort, the record is a stunningly ethereal yet hard-hitting offering, a nugget of boundary-pushing electronica and leftfield prowess.
In fact, the single is so much sui generis that we feel unable to describe it properly (at least in literary terms). Figuratively, it is like being transported through colourful clouds by an angel-pulled carriage. Or wherever fits your boat, just have a listen! 🙂
Giorgio has already followed up ‘No One Should Ever Die’ with ‘It Felt Like Fire (But I Think It Was Just You)’, and it’s clear that there’s much more to come in the next few months. Intrigued by the project, we caught up with Fazio to learn more about his artistry and future goals… interview below!
Hey Giorgio, thanks for chatting with us! Your latest release ‘No One Should Ever Die’ is certainly evocative and dreamy, but also striking and hard-hitting. Obligatory question: what does the track mean to you?
“No One Should Ever Die” is my debut as an artist after years of working behind the scenes as a Creative Director. This track is deeply personal… It’s about memory, loss, and the emotions that linger in the spaces people leave behind. I wanted to create something immersive yet nostalgic, where rhythm and textures blend movement with reflection. It’s my way of translating emotions into sound, without overthinking, just letting it flow naturally.
The record is certainly pretty leftfield and precise in its sonic references; is there any contemporary artist that inspired you to write it? Do you usually listen to this kind of electronica?
I grew up listening to Björk, and her music introduced me to a world where sound could be as expressive as a voice. Her ability to merge raw emotion with experimental production made a huge impact on me. I’ve always immersed myself in a huge variety of music, but one artist who truly changed the game and influenced me is Cashmere Cat. I was on SoundCloud in 2012 when his sound started reshaping everything—his way of layering textures, melodies, and unexpected rhythms felt like the future. I don’t think many realize how much his approach influenced today’s music, but for those who were there, it was clear he was redefining production.
If you had the opportunity to pick any artists in the world for a collaboration, who would be your first choice? (and second choice, perhaps?)
Last year, I got really into Psykos by Bladee and Yung Lean. I played it on repeat…there’s something about the mix of melancholic and surreal vibes that really stuck with me. Bladee’s dreamy vocals and Lean’s raw energy create a sound that feels both emotional and futuristic. I’d love to collaborate with them and explore that space in my own way.
Giorgio Fazio is not just a music explorer, but also a visually-driven, holistic creative director. In your wider artistic work, is there a relationship between sounds and visuals? is there a particular aesthetic you are fond of?
As a creative director, I work with images, messages, and storytelling, and sound has always been an essential part of that. For me, sound design isn’t just an extra layer…it often carries at least 50% of the impact, sometimes even more. I’m drawn to visuals that feel real but have a surreal edge, like memories that shift between clarity and distortion. That’s why I resonate with the dreamcore aesthetic, there’s something about its nostalgic, slightly eerie feel that mirrors the way I approach both sound and visuals.
Are there any highlights in your career that have shaped the creative you are today?
I owe a lot to my older brother, Gianluigi Fazio. 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. Another defining moment was meeting Etan Genini, a visionary entrepreneur who believed in me and gave me the space to shape my role as a creative director. Through Valuart, I’ve had the opportunity to merge art, technology, and strategy, working closely with artists and pushing creative boundaries in ways I never imagined.
Going back to ‘No One Should Ever Die’ – can you take us into the production process and your technical setup?
For No One Should Ever Die, I started by chopping vocal samples to make them feel distant, like echoes of a memory. I built the atmosphere around them, layering deep basslines and ambient textures to create something immersive yet raw. The rhythm came naturally, balancing movement and introspection. My process involves a lot of sound design…I record found sounds with an old Tascam recorder, capturing textures from my surroundings.
These recordings are then processed in Ableton Live, stretched, pitched, and manipulated using Granulator II to create evolving layers. I work on a laptop, running Ableton Live as my main DAW. My setup is simple but effective: I use an Apollo Twin as my audio interface, a Novation Launchkey for MIDI input, and Yamaha HS5 monitors for accurate playback. For synth work, I rely on Serum, with pitch bending, sidechain compression, and automation shaping the final dynamics and emotion in my tracks.
Artistically speaking, what challenges have the last two years presented you with?
One of the biggest artistic challenges I’ve faced in the past two years has been allowing myself to step forward and release my own music. I’ve always been creating, but between work commitments and self-doubt, I kept everything to myself. Balancing my creative direction work with my personal artistic expression made it easy to push music aside. Eventually, I realized that sharing is part of the process…music is meant to connect, and I want to reach people who, like me, might be introspective but have a lot to say.
What are the next steps for your project? Anything exciting on the horizon?
I’ve just released my second track, It Felt Like Fire (But I Think It Was Just You). It’s an electronic piece driven by a hypnotic arpeggiator that builds into an intense emotional climax before dissolving into nostalgia. It reflects that overwhelming rush of finding love after solitude…the way passion burns, rises, and transforms into something lasting. Looking ahead, I have a lot of music in the works and plan to release a new track every month. Each piece will be accompanied by visuals and artwork designed to enhance its emotion, making every release a complete experience where sound and imagery connect on a deeper level.
