A couple of days after the EP’s release, Remo Bitzi reached out to Guadagnino to briefly discuss the various influences that coined Energy Control.

Remo Bitzi Since you are collaborating with Burro Studio—what’s your relation to the visual realm?

Luigi Guadagnino aka Acidgigi I’m obsessed with the “visual world,” I went to art and design schools both in high school and college, so I’ve always had a very spontaneous approach to combining my music with visual art. Since I have been part of Burro Studio, this kind of approach has become necessary, for each of my releases, for each of my projects—whether it is very important or not, I work synergistically with one of the creative directors of the studio: Roberto Rigon aka Fixer. I always have a specific idea in mind and Roberto manages to realize it on time. Without his work, mine would not exist.

RB So the visual side of things is important when working on sound?

LG It is fundamental. When I produce music, my mind produces images, visual landscapes, and each of my works has a specific aesthetic. I wish everyone could understand it; sometimes they do and sometimes they don’t. That’s part of the game.

RB Now I’m, curious—how did that amazing artwork for Energy Control came about? What was the process?

LG The artwork was created collaboratively between myself and Fixer. Our initial concept was an EP that would serve as a soundtrack to the legendary tale of St. George and the Dragon—exploring the timeless conflict between good and evil, darkness and light. We used paintings featuring St. George and the Dragon as case studies and references, including those by Raffaello and Carpaccio. However, the most notable one was the painting by the master Paolo Uccello. We aimed to create a painting with a fantasy and medieval aesthetic, similar to the cards of the popular game Magic. To achieve this, Fixer, who is knowledgeable in AI, recreated a painting featuring a knight and a dragon. We then added abstract black drawings to the image to give it a more distressed appearance. The language used [for the prompts] is clear, concise, and objective, with a formal register and precise word choice. The text adheres to conventional structure and formatting, with no grammatical errors or spelling mistakes. The addition of further aspects has been avoided to maintain the original content.

A sunbeam hitting Acidgigi.RB I have to admit that I’ve never seen you play. How are those visual ideas translated to your shows?

LG Fixer is responsible for creating 3D visuals for our parties. Sometimes, even when we DJ, he creates visuals using AI with different themes. This summer, he created visuals of space deserts with moonscapes, which were really cool.

RB There is a notion of melancholia on Energy Control. Am I right?

LG Yes, but not intentionally. There is always a hint of melancholy, this “deep” aesthetic in all my work. Musically I am a romantic—enveloping and nostalgic pads are my bread and butter. The more I work, the more I synthesize this approach—it’s similar to producing a soundtrack for a film. One day I actually want to do that—who knows.

RB BS Radio stats that their mission is “to create musical projects that go hand-in-hand with the Burro Studio style of communication, in a constant search for fresh design and good vibes.” How’s that a match nonetheless?

LG The artwork provided by Burro Studio is the connecting part. BSR draws inspiration from the international scene rather than the national one, which I appreciate. Each release is unique, with a distinct mood and vibe.

RB There seems to be a lot of influences sound-wise—jungle, rave, techno, breakbeat, garage, dubstep, and more. When and how did you get into these styles of music?

LG I began performing at the age of 14. I did live sets at a techno event in my hometown. Over time, I have developed a taste for alternative music, particularly the UK scene. I am drawn to the more electronic and experimental tracks of bands like Radiohead, of which I am a big fan. I have always enjoyed Radiohead’s experimental music, for example the albums Kid A and Amnesiac as well as The King Of Limbs. I have also been drawn to electronic music, even in cases where it is not explicitly stated. I owe this interest to the UK music scene, which is connected through various genres and bands, from Joy Division to the Manchester rave scene to Grime, etc.

RB I reckon that the discovery of those genres has been influencing you drastically. Is there other music that has done a similar thing? Are you still discovering new styles that are of importance to you?

LG I believe that being influenced is a continuous process. In the artistic field, it is similar to studying—the more you study, the better you become at something. I have recently become fascinated by ambient folk music. The power of the music lies in the choirs that bring ancient stories to life. For example, Sardinian chants consist of multiple voices that overlap like an arpeggiator, while Gregorian chants are moving equally. I listen to this music to relax, to get inspired, or simply for the pleasure of it. As a DJ, I have to remain curious and continue to explore new music. Research is an addiction, a disease.

RB Conceptually, this EP seems to refer to the past and the future. “Time travel, destroyed empires, conquered galaxies,” are mentioned in the description. I have very little knowledge about quantum physics. But the stuff that I get is so fascinating—e.g. that the future is predetermined, or that time as we would perceive it doesn’t really exist etc. Can you related to those ideas?

LG The concept of the EP is related to quantum physics, yes. Time is considered to not exist. This is explained in a poetic and imaginative way. I am referring to a past that is similar but parallel to our own time, and a future that is realistic but takes inspiration from reality, much like AI. This creates something that is both practical and imaginative—like a fairy tale. The settings and characters in fairy tales often reference the Middle Ages, but without specific historic details. This is the concept I aimed to capture with the idea of the “EP.” The writing style of this text has been improved to meet the desired characteristics. It reads: “My work is often based on nostalgia, and I approach everything as if I were composing a soundtrack. This release may be about something that no longer exists, something we may have experienced or dreamed of. I prefer to leave it open to interpretation without over-analyzing it.”