Italian producer Raffaele Attanasio presents his new EP Phoenix via South Signature Records, out on 7 August 2026. The EP consists of four tracks and showcases a techno approach built around raw energy, focused structures, and a restrained sonic direction.
Raised in a family of musicians, Raffaele Attanasio began studying music from an early age and developed his own musical language as a producer, composer, and performer. His work reflects a connection between the intensity of techno and a detailed approach to sound.
The title Phoenix carries a personal meaning for Attanasio. The record was created during a period of transformation following heart surgery in 2025, which led him to take a five-month break from performing. Through this release, he reflects on the challenges, emotions, and strength he experienced throughout that journey.
In this interview, Raffaele Attanasio discusses the creative process behind Phoenix, his approach to production, the role of improvisation, and the balance between musical complexity and the physical impact of techno on the dancefloor.
You grew up in a family of musicians and began studying piano at an early age. How does that classical foundation continue to shape the way you approach techno?
A lot. It allows me to develop ideas much more quickly and naturally, whereas with simple software you might need much more time.
That said, I also believe that technology has profoundly changed the way music is produced today, especially with the rise of AI. If you have creativity and know how to develop your ideas, digital tools offer incredible possibilities.
That’s why I think learning an instrument is no longer as essential as it once was, although it remains a great advantage and continues to make a difference in my approach to production.
Your music combines discipline and emotional intensity. When you begin a track, do you start with structure, sound, rhythm, or instinct?
It depends. Sometimes I have a very clear idea of what I want to do, while other times I record entire jams of synthesizer lines. I rarely start from the groove.
You have performed alongside Jeff Mills and Octave One and appeared with “Tomorrow Comes the Harvest” in Rome. What did those encounters teach you about improvisation and presence?
I believe a certain amount of stage anxiety is essential: that right level of tension helps you stay focused.
Tomorrow Comes the Harvest was an experience of pure improvisation: there are no rules, no structures, no specific keys to follow; everything is based on instinct and on listening to each other.
Experiences like this teach you to trust your abilities more and to break down that layer of self-criticism that, in my case, has always been very present. These are moments that help you grow both as a musician and as a person.
“Nuovo Futuro” brought your work to Axis Records. How did that album change your artistic direction or the way audiences understood you?
Rather than a change of direction, Nuovo Futuro represents the beginning of a new artistic path that I am continuing to develop. I believe it was the record that allowed listeners to truly understand who I am and what my musical identity is.
Today I am already working on the next chapter, trying to continue this journey with the same creative freedom. For me, time is an undefined concept
Your productions can feel precise and sophisticated without losing their physical power. How do you balance musical complexity with the direct impact required on a dance floor?
I try to build every track in a way that creates tension. For me, everything starts with the arrangement: every sound needs its own space and the right context to fully express its function. When every element is in the right place, even the most complex parts can maintain a direct and physical impact without losing their effectiveness on the dancefloor.
Why the title “Phoenix”? What is being reborn through this record?
Phoenix is, above all, about my rebirth. In 2025, I underwent a delicate heart surgery and was forced to stop performing for five months. Meanwhile, the scene continued moving forward and, inevitably, I went through a period of great frustration.
This record was born from that moment: it tells the story of the strength I found to get back on my feet, but also the difficulties and emotions I experienced along the way.
The EP contains four driving tracks with no unnecessary elements. How did you decide when each track was finished?
If you have a clear idea from the beginning, in a certain sense you know that a track is finished even before completing it: you know exactly where you want to go. At the same time, however, I also experience the opposite. Sometimes I reach 80% of the process and decide to delete everything because, in the meantime, the emotional drive has disappeared and that idea no longer feels meaningful.
Is there one track on the EP that best represents where you are artistically right now?
No, absolutely not. There isn’t one track that represents the artistic moment I am living more than the others. It is the EP as a whole that tells that story each of the four tracks is a fundamental piece, and only together can they truly define where I am today, both musically and personally. I am at peace with myself.
The release arrives on 140-gram black vinyl. What does the physical format mean to you as a producer, DJ, and label owner?
Music that you can physically experience has its own charm. It is something that exists, something you can see, touch — it feels real.
Four tracks, no excuses, what should listeners expect?
I think that, in a way, they already know, but with a little unpredictability.
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