This is not the same blah blah blah interview.

I had this beautiful interview with Neon Order and there are lots of things which I never said before!

1. When and why did you start playing?
I started to play when I was still a child. My parents had a Phil Collins vinyl and I fell in love with “In the air tonight”, that drum fill of course, so I stole my mother’s wood spoons and played them on our straw chairs, until I broke them.

2. Which instruments do you play?
I can play guitars, piano, a little bit bass and drums. I’d love to improve with drums, I love them so much.

3. What was the first tune(s) you learned?
Well, “In the air tonight” on drums! I perfectly remember I learned Eric Clapton’s “Cocaine” on guitar as my first tune, but I can’t remember on piano.

4. Is your family musical?
Well, yes, it is.

5. Describe your family member’s musical interests and abilities.
My mother loves to sing and sometimes she goes with her musician friends to play in some pubs. They play acoustic jazz covers.
My brother plays electronic music, from trap to house, techno, nu disco. He’s really good with production.

6. Which famous musicians do you admire? Why?
I admire and love everything what belongs to my childhood: Phil Collins, Michael Jackson, Italo Disco, Tears for fears. They’re like a part of me.

7. Which famous musicians have you learned from?
I’ve learned a lot of from The Cure and Ludovico Einaudi. Strange to say them together ’cause they’re totally different, but they’re definitely my “teachers”.

8. Who was your first teacher? Other teachers?
I had a piano teacher on music school and she was a milf. Yeah.

9. Describe your first instrument. Other instruments.
Are the wood spoons an instrument? If not, my first one was a cute Casio keyboard (can’t remember the model, something similar to a Casio CT-680) where I learned to move my little fingers. I still have it in my mother’s flat.

10. What are your fondest musical memories? In your house? In your neighborhood or town?
Sure my first band where I played in my teenage. We played some Green Day, Oasis, Rem, Blur. It was my first experience to play with someone and it was just a hobby, we never performed live and never wanted, but it was a wonderful way to learn and spend time with company who shares a common passion.

11. Were you influenced by old records & tapes? Which ones?
Definitely all the tapes from my parents but especially all the 80s hits collection from my father. He had those compilations to listen to them in his car and I couldn’t wait to grow, to get my driving licence and driving by night!

12. Who are your favorite musicians? Groups? CD’s?
I don’t have my all-time favourite, just because I think music is the soundtrack of our life, so every moment must have its best music. 80s music is strong in my music background but I loved bands like Explosions in the sky, Dark Tranquillity, Death, The Cure and Ludovico Einaudi (in random order).

13. Have you been in competitions? Fleadh’s? Any prizes?
Yeah, I’ve been in a competition with my ex metal band. We played in a Transylvania Horror Rock Cafè in middle Italy (Civitanova Marche). I don’t remember very good, so probably we didn’t pass it haha!

14. Do you perform in public? Describe those occasions? Concerts, radio, TV?
I performed in different bands many times in public, most of all with metal bands, with my guitar. One of my favourite live was in Calabria, Southern Italy on a beach just few meters near sea. It was a metal festival, we were dressed in black with our face painted in white under the hot August sun. Woooh.

15. Do you play for dances? Step-dancers? Describe the differences.
I want my music be various. I love the Italo Disco and I have lots of songs inspired by that style, but I also made lots of tracks for workout, or “romantic moments”. Well, that’s a kind of dance too.

16. How do you handle mistakes during a performance?
I don’t make mistakes because my tracks have the same chords and melodies.
Ah, no, maybe 1 or 2 have different chords. But I never play them live.

17. Do you get nervous before a performance or a competition?
Yeah. And I love it.

18. What advice would you give to beginners who are nervous?
A glass of beer could help. If not, two glasses should. Ad libitum.

19. Do you attend sessions? What makes a good session?
Well, first is the music you play, second is how you communicate with your public, third is how you play.

20. How often and for how long do you practice?
I play almost every day for hours, maybe 4-5, depending on my other commitments, but I play only on keys. It’s sad I’m not that good anymore on guitars, there’s lot of rust on my fingers now, because I’m focusing especially on the electronic compositions.

21. What do you practice – exercises, new tunes, hard tunes, etc.?
The best thing for practice is to play on other artists’ tunes. No tabs, everything by ear and harder and harder. This is how I try to improve.

22. Do you teach music?
Yes, to my dog G. She’s a horror composer and she’s already good.

22. How do you balance your music with other obligations – mate, children, job?
Well, I can invert the question. Sometimes while I’m playing I can find some time for other obligations.


Many secrets unveiled in this interview for Sir K Magazine

My wife Powder Slut and I had a funny talking at our home with a friend from Sir K Magazine. We tell about our private life, music and project. You can also read it here on the free PDF version of the magazine.

Hello Yana and Vincenzo and thank you for allowing us into your house and answering our questions!
Y: It’s a pleasure, we’re always happy to have friends here!
Let’s start from the very beginning. You are an unusual couple. How did you meet?
Y: May I start? Then Vincenzo will tell you his version, if he disagrees.
The beginning of our story started right at the beginning of my music career, when I discovered my passion for synthwave music and I started to listen to a lot of retrowave music, original 80s music, something like glam rock, soundtracks, porn music from the
80s… at a certain point I felt like my library was finished, so I decided to look around and listen to new artists. I didn’t know Vincenzo Salvia. I knew he was Italian and I pictured him as an old guy, because, you know, his music sounded like something great
produced by some famous artist. It sounded original, analog.
How long ago was it?
Y: It was maybe three years ago. Four, actually. To be honest I didn’t really like his music, it was too fun for me, but anyway… I started to play music, I started to compose
and learn how to do it. Doing so, I also moved towards the synthwave scene, chatting on socials with other composers. People started to add me on Facebook and I don’t
know how Vincenzo ended up in my friend list. I probably asked him for his friendship (you know, just to have a good quantity of friends), but he never talked to me, so I
removed him. He was annoying, always promoting some new tracks.
I thought,“I don’t want you here”. Then, on the 18th August something very funny happened. I published a photo in which I was half naked (I used to like modelling very much). A common friend of Vincenzo and I commented on my photo, which therefore appeared on Vincenzo’s timeline.
V: And so I also commented with some jokes about the photo. She was eating a biscuit in a sexy position, showing a bit of breast… But she answered.
Y: I said, “If you guys are so cool, try to repeat my pose” and they did! Vincenzo was the first. He did a parody of my photo, in the bath with biscuits on his body, which was not a perfect figure… V: I used Macine, Italian great biscuits, but I was still thin back then.
Y: We started to chat step by step. I think it was destiny, because for me it was like lightning. I immediately understood that there was something special. I thought, “OMG, he will be my husband”. The first time we spoke on Skype he was on his knees with flowers in his hands, telling me that he loved me.
V: The first time we chatted we both felt something powerful between us.
It was sudden and confusing. After that day we started to go to sleep together, with our webcams on, like we were in the same room.

Like in movies?
Y: I swear! It was the two of us and G, my pechinese dog.
V: Exactly, I remember waking up during the night and thinking, “Oh God, Yana snores quite a lot”, but it was G! So we can say it was an unpredictable beginning for you.
V: When she first added me on Facebook I thought it was a fake profile. That’s why I never spoke to her. I didn’t know about her music, but she had a lot of professional
photos and so I thought it was one of those fake profiles with stolen photos you can find on social networks.
How did you meet, in person?
V: In a short time we decided to meet. I went to Ukraine in December.
Y: He was so little, so cute with his luggage! I met him at the airport and knew he had to be mine.
V: Even though we had never met before, everything was so simple and normal, like we had known each other for ages. I was fascinated by her life and it was beautiful for
me to be able to witness it. It was such a different culture compared to the Italian one.
Y: If you think about it, we took a very big risk, because we met online. The chances to be unhappy and disappointed were very high, but you know, we went through
bad moments because of our differences, but we are here! I think it’s thanks to our common passion, which puts together the pieces and makes everything work.
Y: Yes. If I was only a designer and not a musician like he is, I wouldn’t be able to understand him and vice-versa. Our music is a little bit different, but we’re on the same line, same references, same lifestyle. I‘ve always wanted a musician as my partner.
V: We share the same sensitivity.
Y: But I’m fire and he’s water. We cause the same reaction when we fight. He’s my water, he always tries to calm me down and I’m his fire. I always try to kick him and poke him. Anyway: on the 18th December he proposed to me. That was very quick! How did he do it?
Y: It was unbelievable. He came to Kiev without even knowing me for real. I could have been a prostitute, who knew… But he came with a ring in his pocket. He bought a ring
before meeting me in person. Of course I said a big YES!
V: In May we got married. It was a small, intimate ceremony.
In Italy?
V: Not in Italy, in Potenza.
Y: Exactly! In the deep south of Italy…
Was the wedding in English?
V: No, in Italian, but a friend of mine translated everything for Yana.
Y: They were translating so many laws, but I didn’t really care. I just wanted to put my signature and “arrivederci, I want to celebrate with my husband”. I call our wedding an espresso wedding: very fast, but the more we stay together, the more interesting it gets.
Let’s start speaking about your music. Vincenzo, when did your passion for synthwave begin?
V: I’ve always been interested in 80s music, I didn’t even know what synthwave was, because when I started, in 2011, my music was not labeled as synthwave or outrun or any of the names that are used today. I grew up with my father’s tapes, so 80s music was in my blood. Only later I discovered there was a whole movement of this style.
I put my music on Soundcloud and so I discovered a lot of related artists. From that moment I started to enter this community of people, I connected with other artists and discovered a few labels. One of these labels, from America, contacted me on Soundcloud. That’s how I released my first EP, in August 2012 and that was the moment when my career as a synthwave music composer started officially.
When did you find out about Yana’s music?
V: It was only when we spoke for the first time. Then I started to appreciate her music. We even worked on a track together after a few months.
Y: We tried, but it’s very difficult for us to work together. First of all my experience wasn’t so much, but that wasn’t the main problem. I think we hear music in different ways, we have different directions and focus on different aspects. Later we also tried, a million times, to play together, but it’s impossible. I know he can play with everyone, but not me.
Did you study to be a musician?
Y: Music and I had bad karma, at the beginning. My mother had the idea that every girl had to prove herself with some kind of elevated knowledge, by learning to dance or
to play instruments. So she took me to a music school telling me that we would “just have a look around,” but it ended up with me attending for 7 years. I finished music school, but I still wasn’t able to hear music, even though I could read it. The headmaster told my mum that I had no talent and no future in music. I was fine with it and I didn’t really care about music, at the time. At that time I wasn’t able to understand the value of music studies; if someone asked me today to attend a music school, I would certainly run for it. Also now, I play music my way, but I do it and people like it. I would like
to meet the director of that school and tell him “look at me! I’m doing it, I compose music”. I hated every subject of music school. For me it was like going to hell. I never
connect that experience with what I do now.
V: My story is very funny: I started to study piano at 8/10 years of age, in a music school near the church of my town. I started the first lessons and when it was time to repeat the exercises at home… I didn’t have a piano. I should’ve thought to buy one before starting the lessons. I had this beautiful book with empty music sheets and I used it to draw a piano keyboard to exercise the chords, even though there was no
sound. I studied piano on paper. My teacher asked me if I had a piano, and when I said no, I answered that I was playing on paper. They forced me to buy something and so
I got my first keyboard, a 6-octave CASIO. During an exam, a teacher told me to put the music sheets on a piece of cardboard so that it wouldn’t fall during the test. I forgot
to do it and, obviously, the sheet fell during my exam and I was shocked about it. I kept on playing without reading music and understood I could feel it and had a good talent
for improvisation. The experience was such a shock that I stopped playing for a couple of months. From that point on, for the rest of my life, I self studied music.
Y: Every track you play is like learning, because it will always force you to study something new. Virtual instruments are like a big library of knowledge you will never
finish to learn. You will always have something new to discover.
V: When I was 14 years old, I started to self-study guitar and started to play in little bands. The experience was like an afternoon hobby for me. Then I started to make my concerts in squares and I really enjoyed the sensation that kind of life gives. I started playing with a bigger metal band and started touring around the south of Italy.
After a while I left the band because the kind of music we were playing didn’t excite me any longer, and I hated keeping my hair long. Then I jumped into electronic music, it was around 2005.
Have you always used virtual instruments?
V: No, I started with my keyboard, even though it wasn’t a synth. I connected that keyboard to my guitar effect pedals and I started to create some sounds and discovered how to record with virtual instruments, improving my technique
with time.
What about you, Yana?
Y: I’ve always used virtual instruments, but it wasn’t all planned. I didn’t want to compose Synthwave at the beginning. I was collaborating with a guy who was
composing some freestyle music for break-dance. Back then I had little experience with the programming world, and he introduced me to it. The programs that were used
back then were terrible and so difficult to interface with. But yes, I’ve always used virtual instruments, even though I asked Vincenzo to buy me that wonderful Yamaha DX7 you see over there, which is just an epic synthesiser. I’m not fond of real machines, because you must do concerts with them, but they are not very practical to be used at
home. Virtual instruments can do everything. Of course, being able to use analog instruments is a plus, but I really think they are useful just for concerts.
Vincenzo, you created a label, right?
V: Yes, in 2013, I met some friends which played the same style and
were under the same American label, because we were having some bad experiences with that label. We started to think that maybe we could create our own label, contact some other artists, create our own brand, because no one was doing anything like that at the time in Italy. And so we organised a concert in 2013, but our first compilation was released in 2014 under the title of Italo Disco Is Back. It was about the renaissance of Italo disco, renewed. Everyone forgets the importance of Italy, especially Italians, for this kind of music. Now we have a very large catalogue of artists, stretching from synthpop to outrun, to Italo disco, some chillwave and many other things.
Why don’t you have Powder Slut under your label?
Y: Because I don’t want to be under his label. Anyway, I don’t want people to think that I’m a musician just because I’m his wife. At the beginning, I was very angry about this, because I think that a lot of people thought that Vincenzo was helping me with my music. They used to think, “She’s a woman, so obviously he has to be helping her”.
The truth is that Vincenzo’s hands are never in my workspace. I ask for his opinion, but I never really care about the answer. I just ask to be polite. It’s a matter of principle: I
don’t want to be part of his label just because he’s my husband.
V: Also, her style is darker than the sound of my label. We have a different focus: more fresh and fun.
Y: Now, I’m going to ask different labels to find the right one for my music. If I am not able to find anything that is appropriate for my style, I will just self-produce myself.
What do you think about the importance that Italy has in your music style?
V: 50% of my tracks are considered to be Italo disco. I have the melodic influence that comes from the Italian tradition so, even if I wanted to hide my heritage, I would not be able to. You can immediately hear that I’m Italian, thanks to my powerful choruses.
Y: I’m very proud of residing in Italy because it’s a country that helped a lot for the development of this kind of music, horror soundtracks come to mind, Fabio Frizzi, he’s
my Italian god, he created really crazy soundtracks. He’s my greatest inspiration, but you need a lot of experience to be able to create something of that level. Now that
I live in Italy I feel very proud of people like Fabio Frizzi or Goblin, or even unknown composers who made really good soundtracks. I think Italian people should be prouder of their talent, and what they did during the 70s and the 80s. It was a wonderful moment. Italy was the beginning of so many things. Cinema, music, amazing cars like Ferrari and Lamborghini, lifestyles like paninari.
When did Italy stop being influential?
V: After the end of the 80s. In the 90s a decadence started, even though the first half was still quite interesting with Eurodance. But that wasn’t exported everywhere, while
Italo disco spread worldwide.
Y: Russia was crazy for Italo disco.
What are you up to at the moment?
V: At the moments I have parallel projects. Of course I continue my original project, but I also want to capture this moment in Italy, since the 80s influence seems to be back.
For this reason, I created a project with a friend, a very talented singer, and we are trying to recreate in a modern way music from the end of the 80s and the beginning of
the 90s. We sing in Italian, which is already something interesting because this kind of music is generally only in English. We’ll soon release our first video, and I hope
people will love it.

Are you also playing live?
V: Yes, I started my live shows for Vincenzo Salvia in January and I have already 6 more dates around Italy and in Europe. On the 2nd and 3rd February I will be in Firenze
and Vicenza. On March 9th I have a concert in Bologna. On the 15th March Berlin. 15th April Milano. 28th July London. Many other dates could be added.
When will we see Powder Slut on stage?
I already have 14 tracks for my new complete album. It’s a very thematic album and I hope to be able to play live shows after its release. I want to use my connections to propose my music and to start to go out. I want to create very visual shows with big
screens. I don’t care about people dancing, but you can just stay, drink and relax while listening to my music.
The last question, a very important one, is about your dog, G, who’s also known online as G Dog Composer.
V: She started to love 70s porn and horror music, when we watched Lucio Fulci’s movie, Paura della città dei morti viventi. She loved the soundtrack and decided to start her own project, as a horror musician, and so she released her first album of only 2 tracks, with Sunlover records.
So you don’t have your wife under your label but you have your dog?
V: Yes, it was a Halloween release. She was very successful and she’s now going to play with me on stage in Vicenza. At the end of the concert she will close my set with our
collaboration, playing the keyboards. “Rencontre avec Vincenzo Salvia par Chaos Theory”

Cool write up on and funny interview on Chaos Theory (you can listen to it here)


Pur bien commencer la semaine, nouvel épisode de CTNetwork par Chaos Theory ! Cette semaine Pete Trautman et Chris Yukigami ont eu la chance de pouvoir recevoir l’artiste italien Vincenzo Salvia, qui était de passage à Paris, autour d’un verre et d’un micro.

Co-fondateur du label Sunlover Records, Vincenzo Salvia est un artiste phare du mouvement Synthwave et plus particulièrement de l’Italo Disco, genre qu’il chérit tant puisqu’ayant grandi en Italie avec les comédies italiennes comme par exemple Cinepanettoni, mettant en avant l’Italo Disco dans leur bande originale. Des influences qui l’ont suivies dans tout son parcours en tant que musicien, depuis plus de cinq ans maintenant.

Place maintenant au 19ème et premier épisode de l’année de CTNetwork avec Vicenzo Salvia et plein d’autres trucs, toujours en compagnie de nos chers Chris Yukigami, Pete Trautman,Nora, l’interprète ayant permis cet échange (et quelques autres invités), Vincenzo ne connaissant que très peu de mots en français et il s’en amuse sur son Facebook : «The only French words that I know are crêpes, profiteroles, tartellette citron, croissant, champagne and pâté».

My interview for Drive Radio. Not only pizza.

Question N°1:
Can you please introduce yourself to those that may be new to your work?

I started to join the synthwave music in 2012 with my first EP Voyage. After this album my music had lots of evolutions, jumping from nostalgic ballads to some groovy Italo Disco tunes.

Question N°2: What are your musical influences? What kind of music do you listen when not producing?

I’m from Italy, so my main influence is the Italo Disco. This kind of music was always included in some funny italian comedies (Cinepanettoni) which I always loved and still love to watch. When I don’t produce my music I sometimes listen to some chillout not to focus on pizza.


Question N°3: What is your earworm at the moment? What have you listening to on repeat recently?

In this moment I’m listening to the Vacanze di Natale ’83 soundtrack, in loop. I’m already in the Christmas mood!

Question N°4: What inspires you while working on new Music? What inspired you for the work on your THE SUMMONER track?

60% of my music is focused on pizza. 20% on girls, 20% on Milfs. That’s all.
When I worked on my THE SUMMONER track I wanted something powerful for my scene. I searched for some 80s workout music style because it had to be fast and hot like a pizza in the wood oven.

Question N°5: What programs and instruments do you use for your Music? What is your favourite VST you use? And which Drum Machine do you prefer?

I work on Steinberg Nuendo as DAW with some plugins such as Arturia V Collection, Minimonsta, Zebra 2 and OP-X PRO II. The last two ones are definitely my favourite!


Question N°6: What are your favourite Movie flicks and why?

My favourite ones are almost all the movies from Robin Williams. I loved him, he was always such a strong inspiration for me.
Another one is Rain Man, with Dustin Hoffman and Tom Cruise. I love everything in that movie, the story, the music (by Hans Zimmer), the interpretation from Dustin Hoffman was amazing.


Question N°7: What is the next step for you after the release of THE SUMMONER OST? A new Album? A new ep? Or other projects youre involved in?

I’m working on a new album feat. Pj D’Atri. He’s a crazy guitarist based in Austria. I also have a side project with an italian singer and we are focusing on some radio italo-pop tunes. Hope you’ll have the chance to listen to everything as soon as possible!

Original link here:

Si parla di Chromelove su EDM Culture!

Ed eccoci qui, EDM Culture riparte nel 2015 con una nuova recensione!

Vincenzo Salvia è ormai uno dei portabandiera della synthwave/retrowave nostrana. Agli sgoccioli dello scorso anno ha rilasciato la sua ultima fatica “Chromelove EP” su Doner Music, la quale si attesta di pubblicazione in pubblicazione un’ autentica etichetta feticcio della controcultura da classifica in Italia, promuovendo più che la funzionalità nel mercato di un prodotto, il suo contenuto qualitativo effettivo. Per l’occasione, abbiamo avuto anche modo di fare con il buon Vincenzo un breve punto della situazione ad oggi…

EDM: In un’intervista nel Maggio scorso ci dicesti: “sono da poco approdato in casa Doner Music, etichetta di Big Fish, con cui sto preparando un EP strumentale con un forte timbro outrun” …vogliamo sapere se ti senti soddisfatto del risultato e che cosa è cambiato stilisticamente e nell’approccio rispetto ad esempio all’ ep “Voyage”?

VS: Sono passati già più di 2 anni e una decina di album da Voyage, ed ogni album aveva qualcosa in più. Ho imparato nuove tecniche negli arrangiamenti, ho allenato l’orecchio nella scelta dei suoni e ho cercato sempre di dare una varietà alla mia musica, senza lasciare da parte la mia “firma”. Poi tanti eventi, belli, brutti, noiosi, divertenti, intensi, condizionano quello che scrivo nelle mie tracce, volendo o nolendo. Ogni tanto mi lascio andare in atmosfere da nightdrive, altre volte mi tuffo nella Italo Disco estiva alla Sabrina Salerno, altre volte mi lancio in pezzi nostalgici, o romantici, o come nei miei album Atlantis e l’ultimo nato Chromelove, provo a spingermi oltre.

EDM: Quali sono le prospettive della synthwave e retrowave nel 2015? C’è qualche evento significativo in programma nella community? Come ci si sente a far parte di un fenomeno di scala mondiale per quanto di “nicchia”?

VS: La scena synthwave cresce sempre di più, faccio davvero fatica a seguire tutte le releases e i nuovi artisti! Ma questo è un bene a mio avviso. Mi piace che sia un fenomeno di nicchia, ma sento che ha ancora del potenziale. E’ figlia degli anni 80, e quest’epoca ha dato tantissimo alla musica elettronica, e a noi che ormai abbiamo passato la trentina. E’ per questo che mi piace molto, perché non è solo un genere, ma è qualcosa che fa parte della nostra infanzia, dei nostri ricordi, ed è impossibile distaccarsene! Spero davvero che ci siano influenze anche nel pop più radiofonico, mi piacerebbe sentire in radio qui in Italia dei pezzi arrangiati in stile Outrun o ballare nei locali una New Italo Disco. Io intanto ci provo a fare qualcosa di nuovo e spero che piaccia! Da poco ho remixato con Fish un pezzo dei nostri amici italiani Fraulein Rottenmaier, abbiamo cacciato fuori qualcosa un po’ alla Moroder, fatemi passare la blasfemia vi prego!
Eventi significativi? Il mio prossimo album ovviamente, haha!

“Chromelove EP” già dall’esordio ci catapulta pienamente nel calore e nei colori di un suond analog con il singolo omonimo Chromelove, una spensierata regata in un mare di onde e venti di libeccio navigati da una voce filtrata da vocoder come ad intonare un canto di sirena.
Con Manikins i nodi aumentano e l’incedere si porta più sull’andante, guidato dal basso arpeggiato sulle frequenze basse che funge da collante con i vari eventi sonori che si susseguono sulle medio-alte.
L’aggettivo “epico” si sposa benissimo con i brani Obsessions e Metamorphosis, due avventure fra le quali spicca quest’ultima, che parte seriosa e carica di inquietudine arricchendosi progressivamente di synths più caldi e dinamici. Con Renaissance si conclude questo viaggio Outrun con incedere fiero e consapevole.

Ascolta “Chromelove EP” su Soundcloud!

Articolo originale qui

Vincenzo captures the mystique of love!

Fantastic review on CARNOV about Chromelove!
And it includes my interview and some extra inserts about my lovely girl Powder Slut (Yana Mesha) and my great friend Nightcrawler (George Gold)!

Vincenzo Salvia’s latest EP called ‘Chromelove‘ was released yesterday through Italian label Doner Music! This 5-track EP is available to download through iTunes ($3.99 @ 45mb total), Spotify, Bandcamp(stream only) and Soundcloud (player below). Tracks are purchasable at any time by clicking the buy/cart button through Soundcloud’s streaming player. The gorgeous cover art design was created by George Gold aka Nightcrawler!

The interview with Vincenzo is further below – in the interview you will discover how this release is autobiographical and has quite the cool story involving a certain female Synthwave artist 😀


TRACK # 1 – ‘Chromelove’
Without knowing the story beforehand, I find the title track ‘Chromelove’ feels like a desperate struggle between two people at some sort of standstill in their relationship. It’s moving, impactful and overflowing with lush filmic synths – just beautiful. Although obscured, the vocoder effects are enjoyable to hear and have a deep sense of yearning for connection.

This track is very replayable with a catchy drumbeat intro that quickly escapades to an engaging arrangement of amorous synths and with cool vocoder effects that take centre stage – it’s a fantastic track!

TRACK # 2 – ‘Obsession’
The mood takes a turn to a more vibrant positive feel and fittingly infused with passionate ‘I want you’ synths. The lunging takeoff from 1:07 secs has a great effect and gets better with continuous funky beats until we hit 2:38 where the synths become focused like rapid-fire – really cool!

TRACK # 3 – ‘Manikins’
Now this has great energy and melody with a flavour of Outrun/cruising to the sounds. The driving beats are determined and very positive as if a barrier was just broken through. As the track develops, this feeling becomes more pronounced and as always you can really feel the impact with volume up high!

TRACK # 4 – ‘Metamorphosis’
My first impression for favourites on this EP was this track and the ‘Chromelove‘ title track. I have a difficult time in deciding which track is the winner as they are both stellar in their own way. ‘Metamorphosis‘ plays an important part of the story with the transformation from manikins to human (see interview for info on this…) – the track has a sophisticated impact with a cool ethereal feel and that drop from 45 secs. onwards has great synth power! I especially like this track as a fan of epic guitar+synths action. The intro really grabs the listener with sounds that reminded me of the creatures under the sea, it feels magical! For fun, a video track is below with a underwater scene as if we went out into the sea as shown in the background of the cover artwork 😀

TRACK # 5 – ‘Renaissance’
A perfect synth package! The intro synths have that familiar sci-fi vibe which quick transitions of pace but yet with a smoothness that’s really appealing. The feeling is overall  positive with synths that feeling challenging but break through with wild success.

This EP is very well composed and this is the type of Synthwave where you can really connect to the music – especially since the production was based on real life! Vincenzo is at the top not just because of musical skill/talent, but because his music in most cases is close to his heart – it’s real, deeply emotive and just plain beautiful. GOLD Rating 10/10 – This is a very fine release and look forward to see what comes next from Vincenzo and his new partner in life.


Q1 /// JARED – Can you please introduce yourself to those that may be new to your work?
VINCENZO – I’m a musician from Italy, born in 1983. I entered into the synthwave scene in 2012 with my first Outrun EP called Voyage. Since that moment I always try to improve and give new energy to my music. I jump from pure synthwave to authentic Italo Disco, mixing them and trying to give my own touch in every track. I love when the listeners don’t expect which style will be the next release!

***** JARED’S INSERT – You can listen to his very first synthwave album “Voyage” in the player below. This album is available as a FREE download! *****

Q2 /// JARED –  You have stated in the past that most of your music is autobiographical. ‘Chromelove‘ feels deeply romantic with a sense of struggle and filled with a yearning for connection. Can you explain how this EP ties in with some of your own experiences and if not personal then could you explain the story?
VINCENZO – There is an unique story behind this album. I feel like something magic was happening in my life. In the late spring I started to write the music and everything was written by itself: it tells about these manikins in the artwork, man and woman, which can’t touch each other. Then In August I stumbled into the biggest love of my life, Yana, an Ukrainian girl, synthwave composer famous as Powder Slut. For 4 months we only talked in webcam every day and every night, just like those two manikins, and… one week before the release I went to Kiev finally! This seems a love story written by the fate!

***** JARED’S INSERT – Powder Slut aka Yana Mesha is a talented synthwave artist with a number of singles available for your listening pleasure. Her tracks are consistently well received including hits such as ‘Shadow Agents‘ from Jean-Pierre Van Damme’s ‘END OF DAYS’ compilation and her most recent track ‘Mirage’ which was released just yesterday! Powder Slut is known for her rich dark brooding atmosphere – you can listen to ‘Mirage‘ in the player below. *****

Q3 /// JARED –  Actually, I find that I can really connect to these tracks without necessarily knowing the story in the first place. As mentioned in the review, the title track ‘Chromelove’ feels like a desperate struggle between two people at some sort of standstill in their relationship. It’s moving, impactful and overflowing with lush filmic synths – just beautiful. What was your goal for the Chromelove EP? How would you describe the listening experience? 
VINCENZO – This is why I wanted to arrange this album as instrumental. It must be more imaginative. I wanted that every ambience appears even without reading titles or listening to the words. The title track is my favourite, I must admit it! And the desperate struggle is evident here, the passion of love destroy their souls, then they start to feel obsessed and they move smoothly, until they change their aspect to become human.

Q4 /// JARED –  I first discovered your work with your 3-track EP ‘Summer Love’ released last year through Telefuture Records. As a fan of 80’s Italo artists like Sabrina Salerno I remember being completely captivated by the title track with an arrangement that really emphasized the excellent and very 80’s style vocals. Since then you’ve released some stunning works and I wanted to ask how you feel you’ve evolved as an artist since last year? 
VINCENZO – Lots of things changed in my style, I will never abandone my Italo, because it’s the one which I grew up with! But the sequel of “Summer Love” was already different from the first episode. “Summer Love One Year Later” was more nostalgic and romantic, I was influenced by the summer Vanzina’s movies! Also Italo and vocals are always great together, I love how vocals give it that light “pop” style!

***** JARED’S INSERT – Summer Love‘ originally released on August 20th 2013 through Telefuture Records and was a major hit in the Synthwave community. You can listen below for reference. This EP is available as FREE/Name-Your-Price release! *****

Q5 /// JARED – This cover art is richly-filled with symbolism in an appealing symmetrical design and with a great sense of depth – can you explain the design process here and the meaning of the camera/mannequins? Who was the designer?
VINCENZO – The art concept started from the vision I had of two manikins with Polaroid-heads, so I asked to my dear friend George Gold to realize the artwork. I imagined them standing in an elegant room with a retrofuturistic mood and I am a fan of surrealism of Dalì, Magritte and De Chirico. George hit the goal perfectly! CLICK HERE to view artwork portfolio showcase.

***** JARED’S INSERT – George Gold is a popular and well regarded graphics artist by day and Synthwave artist at night! He is Night Crawler! *****



Q6 /// JARED – My favourite track on the EP is Metamorphosis because of it’s sophisticated impact with a cool ethereal feel and that drop from 45 secs. onwards has great synth power – guitar rocks too! I wanted to ask your inspiration and any background info for this track as this really stands out to me?
VINCENZO – Everything started from the bassline here, then I started to modulate the pads on it, so the melodies came at last as I almost always do. But that bassline inspired me so different emotions and those moving pads were really powerful in my mind. Probably some Jarre influences here too, and I decided to add those guitars to give more and more power!

Q7 /// JARED – What is the best way to keep up with your latest updates? Also, with 2014 coming to a close what can we expect from you in the new year?
VINCENZO – My website and my facebook page are always updated about every news! I will come back with a sequel of Chromelove probably! This love story has a real sequel again now! And I need to make some new Italo for this summer, who knows, maybe another episode of Summer Love!



Chromelove and paparazzi.

I’m back on Neon Vice with this interview about my new album Chromelove!

It’s been a while since you’ve been on NeonVice; How have you been since your Summer Love EP? It has been a while since and we are glad to have you back!

Since the release of Summer Love I worked a little bit to find new ideas and inspiration for this new chapter of my life. I’m quite satisfied of how my latest album was appreciated by the fans and I got lots of new followers thanks to the most loved track “Domenica”.

Has your move to Doner Music been to network more locally in Italy?

I would love if my spaghetti-people will appreciate my music of course, but there is not a purpose behind this label moving. I just love how Doner works professionally and promotes everywhere his artists. And not at last, I will be on wider music platforms such as iTunes, Spotify, etc., to reach more people! Synthwave scene is going unexpectedly great here in Italy, I know lots of talented artists who play in an awesome way. We are sometimes pessimists about our electronic scene but I should tell everyone that something big will happen again here like in the 80s, when Italo Disco was inspiration for lots of countries!

Your Chromelove EP really gets back to synthwave’s 80s roots; is this style what you feel most comfortable composing?

I feel Chromelove as the sequel of Atlantis. Not as concept, but in the style. It’s something more experimental but with that dark touch of the synthwave school. I wanted to stay away from my Italo influence and working on new atmospheres and sounds.

The album tells about two manikins who love each other but they can’t move and touch. One day I had this vision of two chrome manikins with Polaroid heads (I don’t use drugs) and all the album was a consequence of the artwork, sapiently made by my dear friend George Gold.

Will you be working on more Italo and Nu Disco that we all know and love or do you plan on expanding our minds to things we haven’t heard from you yet?

I like to alternate Italo releases to darker ones (Traffic / Auto Radio / Atlantis / Summer Love / Chromelove…), I don’t want to get bored of my music in this way, and I hope not to bore my fans too! I feel more comfortable in Italo Disco, but sometimes I really want to create something new and breaking all the rules of the old pizzaland school.

One thing about this release is the noticeable lack of vocals; are you interested in working with anyone in the near future or will we get the chance to hear your charming voice again?

Just because of more experimentation in this new release, I wanted to focus the attention on the arrangements and making something less “pop”. Of course I would love to work with vocalists and I will try to record my voice again!

Alright, so NeonVice isn’t really a place for gossip but all of us in the scene are wondering if the milf hunter has hung up his hat for a certain Ukrainian beauty? Can you let us in on the details of how things began or does the single “About us” say it all?

Paparazzi don’t miss anything! My Milf hunter career was destroyed when one hot day in August Andy commented in his funny style one of the photos of Yana Mesha (Powder Slut as musician), who I had in my Facebook friends, but who I never talked with! The photo jumped on my Facebook home, so I wanted to post something funny too, and since that moment Yana and I started to talk. And since that moment we didn’t stop. It was love at “first sight”, and maybe you will see some surprises in the next days! We decided to make our own song, something romantic which tell about us, so that title can say all!

Any last thing you would like to say, or clue us in on?

I just want to thank you for this interview and wish a merry Christmas and retro new year to NeonVice and everyone!

Italian music blog “EDM Culture” interviewed me!

Questa settimana abbiamo l’occasione di proporvi uno dei paladini italiani della Synthwave/Italo Disco. Vincenzo Salvia è un prolifico produttore di Potenza che scolpisce nell’aria atmosfere raffiguranti idealmente viaggi, stati d’amore/pensiero onirici ed è per questo che si affida, con grande coerenza, a tutta la carica espressiva nostalgica e passionale degli stilemi anni ’80.

EDM: Come nasce il tuo progetto musicale ?

VS:Ciò che produco attualmente è un’evoluzione di un percorso musicale: vengo da alcune esplorazioni nella darkwave elettronica di stampo tedesco con influenza anni ’80. Ho sempre avuto una grandissima passione per gli eighties. Ho iniziato suonando il famoso assolo di batteria di “In the air tonight” sulle sedie di paglia con i cucchiai da cucina di mia madre. Una volta rotte tutte le sedie, mi hanno comprato una tastiera e delle sedie di legno. Dal 2001 ho cominciato a comporre, ma solo nel 2012 sono approdato realmente sulla scena synthwave con l’EP Voyage su Future City Records.

EDM: Come vivi la produzione ?

VS:E’ un momento bellissimo, soprattutto la prima fase della composizione. Comincio a strimpellare qualcosa su un loop di batteria e poi tutto viene da sé, e non capisco nemmeno io cosa sto facendo finché non finisco e dico: “Che bello”. Oppure “Che cagata”. E’ tutto molto istintivo, mi ci chiudo per ore intere, è un flusso di coscienza. Poi con calma mixo alla meglio e gli dò un titolo.

EDM: Come collochi il tuo ruolo di producer nel panorama attuale della musica elettronica in ambito dance ? Credi si possa parlare di rinascita dell’italo disco 70′/80′?

VS:In realtà vedo che all’estero non si è mai fermata, e la adorano soprattutto in Russia ed Europa dell’Est. In Italia invece è praticamente scomparsa, forse anche per le regole musicali molto rigide che la identificano, e che la rendono a lungo andare ripetitiva. Ci vorrebbe un bel tocco di modernità e innovazione, come è accaduto per la synthwave, ma senza privarla dell’atmosfera originale. Sto cercando di lavorare in questa direzione con la Telefuture: partendo da un autentico album Italo Disco (Summer Love del 2013), sono arrivato a comporre un sequel (Summer Love One Year Later) con degli accorgimenti di arrangiamento e composizione più moderni, cantato in italiano. Nostalgico si, ma senza cadere nel cheap tipico dei vecchi testi Italo.

EDM: Quanto e’ importante la veste grafica nella comunicazione della tua musica ?

VS:Tantissimo! Ti porta direttamente nel disco senza ascoltarlo. Se l’abito non fa il monaco, l’artwork invece fa l’album, almeno nel genere synthwave. Poi è un’esperienza bellissima: c’è quel momento in cui devi fare un riassunto dei brani e concentrare tutto in un’immagine che deve essere potentissima, perché deve incuriosirti e allo stesso tempo trasmetterti quello che la musica racconta.

EDM: Qual’e il pezzo a cui sei piu’ affezionato ? perche’ ?

VS:Oltre a “Voyage” che è il primo, metterei sullo stesso piano “Night signs” e “Eyes in the mirror” entrambi dell’album Nostalgia. Ricordo il momento in cui cercavo di distaccarmi dallo stereotipo di musica outrun per cercare qualcosa che mi identificasse. Era cominciato da poco l’autunno e adoravo passare il tempo in macchina sotto la pioggia ad ascoltare musica (anni 80 ovviamente). Il momento era ben decorato da una dolce cornice sentimentale e si, avete capito che sono nostalgico.

EDM: Quali sono gli artisti a cui cerchi di rifarti e quelli con cui vorresti collaborare?

VS:Passo dall’Italo all’outrun, alla workout, alla soundtrack music, quindi non ho un preciso punto di riferimento. A volte ci sono dei brani che mi piacciono e, quando li ascolto, mi dico: “Ora lo plagio”. Poi capisco che ci vuole tanto talento per plagiare qualcuno e mi esce sempre qualcosa di completamente diverso. Collaborare musicalmente è un po’ come andare a mangiare la pizza: se non ti ci trovi bene, passi una brutta serata e torni a casa nervoso. La cosa fondamentale nella collaborazione è l’intesa a livello umano. Ho avuto la fortuna di conoscere personalmente A space love adventure, Shio-Z e Apollo Zapp, con cui ho collaborato e collaborerò in vari remixes, scambi di idee, consigli su progetti futuri e discorsi sulle ragazze. Un altro grande amico è George Gold, in arte Nightcrawler, autore delle mie ultime copertine e compagno di avventure musicali, a cui ho fatto il mastering del suo ultimo album Metropolis.

EDM: Perche’ hai deciso di non utilizzare nessun moniker/nickname specifico mantenendo il nome reale ?

VS: Principalmente perché non voglio sentirmi “intrappolato” in un genere. Avendo spaziato in vari stili musicali, sarebbe statodifficile trovare un nome che raccogliesse tutto. E poi vorrei essere identificato come musicista e non con un nome che chissà chi ci sta dietro.

EDM: Parlaci delle comunita’ retrolovers di cui fai parte ( retrographix o synthetix music per esempio ) ? quanto sono importanti per la creazione e la finalizzazione dei tuoi lavori in termini di stimolo e condivisione ?

VS: E’ come andare a scuola, vedi quelli più bravi di te da cui puoi copiare il compito in classe, poi ci sono quelli da prendere in giro e quelli con cui decidi di andare a giocare in sala giochi. E’ bello vedere come si cresce giorno dopo giorno, e quanti nuovi artisti entrano a far parte di questa scuola. Sia a livello musicale che a livello grafico si è maturati molto: ricordo i primi album che giravano sempre su immagini di Testarossa, palme e griglie vettoriali. Ora stanno spuntando quelli che fanno la differenza, e questo proprio grazie ai commenti e alla condivisione dei propri lavori.

EDM: Progetti imminenti e futuri?

VS: Sto lavorando anche con altre etichette oltre alla Telefuture e cerco di differenziare un po’ il mio lavoro. Con Future City Records vorrei sperimentare di più, rimanendo un po’ distante dall’Italo. Con la francese Ricoché partirò a breve con roba di stampo Nu Disco, funky, indie-dance, con Billy Venus alla voce. E sono da poco approdato in casa Doner Music, etichetta di Big Fish, con cui sto preparando un EP strumentale con un forte timbro outrun, e che spero piacerà!

Original link here

Behind the scenes – interview for NeonVice!

-What would you say the theme of your new ‘Summer Love’ EP is and does it have a linear story? 

We often come back to the same beach we were one year ago, and this is what the EP tells. Two tracks are strongly linked together: the one with my vocals describes the return of the protagonist at the seaside one year later, he is waiting for his lover but can’t find her there, he remembers when they played on the sand with their Polaroids, and then he leaves the sea to go back home. The other track is with female vocals and it is the parallel view from the girl life, she leaves her apartment to go back to the sea and meet her lover, but something goes wrong and her car stops on the road. This is the reason the man couldn’t find her at their appointment. But there is a twist: the two stories cross together now, and while the man is coming back home, he finds the girl hitch-hiking on the road. And the love story continues.


-Do you think that you will continue the ‘Summer Love’ story with more EP releases after the upcoming sequel? 

That’s not in my plans at the moment. I will probably make a LP on Telefuture after this second EP but I prefer to let this “saga” stay as two episodes. But I could change my mind again! I like contradicting myself. I often think about a sequel of my albums such as Voyage, or Auto Radio, something like Auto Radio 2 could be cool, but I’d love to give them the uniqueness, I don’t want they lose the energy of the first episode. But Summer Love One Year Later is totally natural, I made the remake of the original title-track for the Dreamakes vol. 2 which is almost completed and lots of images and scenes came in my mind, so the idea of the sequel has written itself. 

The LP project is so far at the moment, something Italo for sure, with the old authentic mood and something new, already in test with Summer Love. I would like to release it on tape too! Unveiling something about Dreamakes, it is a compilation where one track is remixed by several artists and I think this second episode will be out in the early June. Fantastic remixes are already in my hands!


-As for your ‘Under The Bed’ album coming up, has the inspiration for songs come from dreams that you’ve had? 

My other tracks always tell about my day life, there’s nothing too irrational in my themes. Most of my music is autobiographic, but nothing comes from my dreams. I tell about travels, love stories and my states of mind. Sometimes I like to let my imagination run and I come up with some releases like “Atlantis” which is a story about the undersea empire before, during, and after the immersion and then the rise of the far future.


-Having previously worked with vocalists, has working with Billy Venus been unique or inspiring in any way, and do you prefer creating tracks with or without vocals? 

The composition is quite different with vocalists, especially in my style of composing because I always fill the instrumental tracks with lots of melodies and there is always a main melody which replaces the singer. The arrangement with vocals is funny because you have to let the vocals sit on top and then fill the empty spaces or accompany the groove in some way. Instrumental tracks are definitely more introspective for me, it’s a moment when I totally close in myself and all the things around disappear. Tracks with vocals are a bit more rational but it’s a huge satisfaction when I listen to awesome voices on my music! I hope the experience with Billy will be appreciated by the audience so we have something to do for another release!


-Out of the various genres your music encompasses which would you consider your favorite(s) and why? 

Music is what we feel, what we are. Music fits perfectly to our states of mind. I love the escapist mood of the outrun music, that summer feel and freedom; I love the nostalgia and the authenticity of the Italo Disco, which I am devoted and debtor to; but I also love the energy of workout music and the groove and freshness of Nu Disco. I tried to compose all of these genres and no one can replace the other one, it only depends on the moment I’m living. And this is the reason I love to work with different labels, splitting all of these styles into them.


-What inspired you to join the broader synthwave scene and how did you get into composing? 

I started composing my own tracks in 2001, and I always loved the 80s, so I had that retro feeling in my tracks, and when I stumbled on great artists on Youtube like Miami Nights, Anoraak, Kristine, I thought: “WOW. THIS IS MY WORLD!” and so I tried to enter. My first EP in this scene was Voyage released on Future City Records on August 2012. I love that moment when I started to chat with other artists and discovered there was a whole scene growing! The support here is magnificent! I would never change this scene for anything. 

I perfectly remember the moment when I received some likes and comments on my Soundcloud by the Future City Records account, and I was like “Oh, do they really like my music? Is this a label?” and I instantly wrote them a message to start a collaboration. The tracks were already made, so in few days I only had to prepare the artwork (made by my bro Stefano) for the Voyage EP and my travel started from there! 

The scene has grown so much in the last couple of years. Many new labels and musicians are joining the synthwave landscape. Since this is a totally new music genre, labels are very opened to accept new music, or even if you want to self-distribute and self-promote, the support is awesome. Social networks are powerful and the music scene is enlarging to other lands, such as graphics, movies, videogames, and we’re creating a fashion which we are all a part of.

Original link here