We spoke to Italian artist Panoram, a visionary musician who has spent over a decade crafting distinctive soundscapes which blur the lines between genres, earning him a reputation as one of contemporary music’s most innovative creators. His work has been released on acclaimed labels such as Firecracker, Running Back, and his own label Wandering Eye, and he has collaborated with prominent artists, including contributing to Amen Dunes’ forthcoming Sub Pop album, Death Jokes. Known for his ability to traverse a wide spectrum of styles, Panoram’s catalog spans abstract pop, experimental library music, classical-inspired compositions, and cyborg funk, continually pushing the boundaries of sound and structure.
His projects are as conceptually bold as they are musically rich; for instance, one release included a cannabis leaf encased in clear wax, while his 2021 album Pianosequenza Vol.1 showcased his innovative experiments with the Yamaha Disklavier. With his latest release, Great Times, Panoram delivers a defining body of work that encapsulates his career-long exploration of sound, offering a compelling vision of music that resists convention while capturing fleeting moments of beauty and complexity.
What was your first entry into music appreciation? And music production? 
I remember having records from Sepultura and Rancid growing up. My brother used to study electric bass guitar back then. I would hear him practicing from my room.Those are my very first music related memories.I started making music with a free tracker called Buzz made by a guy called Oskari Tammelin. A friend of mine taught me how to use it. We would make tracks separately at home and then play them to one another. We would also make tracks together sometimes. I remember staying up the whole night on new years eve working on a song…we were really young.
What led you to the styles and sounds you work with today?
I guess electronic music was really appealing for someone without musical training like me when I started…it looked more like a blank canvas in a way. As a teenager I would listen to a lot of electronic music from Detroit such as Clarence G, Drexciya, Balance Of Terror, Doppereffekt… that sound had a really strong impact on me.
What key pieces of gear/software are you using to define your sound?
I like to define my sound through the atmosphere and the colors I channel in my music rather than by using particular gears
How has your arsenal of equipment changed since you first started?
It changes all the time.i started moving a lot some years ago, changed a lot of apartments and went back and forth between Europe and the United States so it’s hard to keep my equipment consistent in time. I think the process of making music right now it’s something that lives more in my head and then gets finalized through different gears and instruments depending on the situation… I like it this way, it keeps my focus on pure ideas.
What inspires you outside of music?
Inspiration always comes outside of music for me. Most of the time is more feeling driven rather than experience driven. other time is about a single concept and then music becomes a pretext to me to flesh out an idea
When you compose and produce tracks, do you make music for yourself or do you make it with others in mind?
I think it’s more like pulling off the ideas that are lingering in my head. I need to get them out of my system, I don’t really think about me or others when I do it.
What is the best or strangest reaction you’ve had to your music this far?
It’s funny to see how people react to art in general.
What is your opinion on the ever-expanding genre tree? How do you navigate categorizing your creative output?
I don’t really pay attention to categories.for me it is more important to see the type of spirit that music manages to convey rather than analyzing the way in which it was arranged from an aesthetic point of view
Do you consider the Internet and social media as fundamental in building a career in music today, and what is your personal relationship with the new technology at hand?
I think social media makes people more and more numb to music and art in general. everything gets flattened out. there’s a compression of languages that ultimately turns everything into the same thing
What can we expect from you in the near future? Any upcoming projects or releases in the pipeline that you would like to tell us about?
I am finishing the second chapter of my Pianosequenza series. It’s a series of records I am making using only automated pianos. It’s coming out on the roman imprint Union Editions.
Listen to ‘What it Means’ below:
Follow Panoram:
Bandcamp – Instagram – Facebook – X – Soundcloud – Youtube – Spotify
