Release Radar: Fioretti - Orizzonti [CADENZA136]

Fioretti’s relationship with house music runs deep. Raised in Turin and shaped by formative summers along Italy’s coastline, his sound draws from the soulful roots of New York house, disco, jazz and Latin music, channelled through a modern electronic perspective. Influenced by pioneers such as Masters At Work, Frankie Knuckles and David Morales, his productions carry a timeless quality that balances groove, warmth and emotion. Over the years he has quietly built a respected catalogue with releases on labels including 8Bit, Knee Deep In Sound and Circus Recordings, steadily refining a sound rooted in personality rather than trends. Now joining the Cadenza family with his Orizzonti EP, we caught up with Fioretti to discuss his musical beginnings, creative influences and the journey behind the release.

Growing up in Turin, what were your earliest encounters with electronic music and at what point did you feel drawn to produce your own tracks?

I was born and raised in Turin, which is now known for Kappa, one of Europe’s biggest electronic music festivals. That said, apart from spending time in record shops as a teenager, I never really felt strongly influenced by my hometown’s local scene. My first real introduction to house music happened during summers by the sea, more specifically at Kursaal Club in Lignano, in the north-east of Italy. That’s where I was completely blown away by the sound of Italian legends and international guests like Claudio Coccoluto (RIP), Alex Neri, Paolo Martini, Nic Fanciulli, Satoshi Tomiie, Deep Dish and many others. Later on, I started spending time on the Romagna Riviera (especially in Riccione) - for years considered the heart of Italian clubbing and beyond, which became a huge source of inspiration and learning for me. 

Who or what influenced you most in those early days and how would you say your sound has evolved since then?

My background is pretty soulful. I grew up listening to the same music my parents loved, so a lot of disco and funk, artists like Grace Jones, all of Quincy Jones’ productions, Sade… I think that kind of musical foundation naturally prepared me for house music (which, after all, grew out of disco). Because of that, I was immediately drawn to New York house, with its strong soulful roots and its blend of disco, jazz and Latin influences. The artists who influenced me the most are some of the true pioneers of the genre, like Masters At Work, David Morales and Frankie Knuckles. For me, musical cross-pollination is at the heart of how any genre evolves (even culturally), and this is the kind of approach I’ve also tried to bring into my own productions - I think those influences really come through in my sound. That’s why another personal hero of mine is without a doubt Carl Craig, with his iconic fusion of Detroit techno and jazz. 

Your Orizzonti release is out now on Cadenza - congratulations and welcome to the family! What does releasing on the label mean to you personally?

First of all, thank you! Becoming part of the Cadenza family is without a doubt a huge personal milestone. It makes me really proud of the whole journey so far, which I have to admit hasn’t always been easy. From the outside, people often focus only on the positive side and the good things, but behind it there are always a lot of sacrifices, disappointments, doors slammed in your face, and moments where you seriously question yourself and your work. That’s why having a legend like Luciano trust me and believe in my music truly makes all the effort of these years worthwhile.

When I first discovered the Cadenza sound, I was literally blown away. I was coming from a period where house music had started to feel a bit tiring and no longer excited me like it used to - from my point of view, it felt like it had run out of creative energy and things were starting to repeat themselves. Cadenza was a breath of fresh air, an alternative to the coldness and static feel of a certain Northern European minimal. The key word was - and still is - contamination. That ability to blend electronic music with traditional South American music, jazz, soul and disco in a completely revolutionary and innovative way. 

Some time ago I read an interview where Luciano said that his sound, together with Ricardo’s, was a kind of Chilean reinterpretation of Detroit techno - Derrick May, Kevin Saunderson, Juan Atkins. So yes to 909 drum machines and synthesizers, but always with the addition of your own influences, your own life experiences and your personal background.

Was there any particular direction you were working towards with this release?

I think each track on the EP is quite different from the others, almost as if I channeled four different influences into each one. ‘Orizzonti’ is an ode to my deep love for late ’90s, early 2000s house music, strongly rooted in the use of disco samples. Think of the productions on New York’s Henry Street by Johnny D and Nicky P, DJ Sneak, Mateo & Matos - those raw, almost imperfect beats and those hypnotic, driving disco loops. With ‘Suzanne’, I took a similar approach to ‘Orizzonti’ but it’s maybe a bit deeper and carries some subtle jazz influences, if you will.

‘Soleil’ is more of a tribute to one of my all-time favorite and most iconic production duos in modern electronic music: Basement Jaxx. They were a truly unique mix of sounds and influences, never afraid to experiment or to introduce new sounds within the tried-and-tested formula of house music. Producing ‘Lotus’ was a beautiful challenge, because it’s a track where I gave myself the luxury of experimenting, just to see where it would take me - far from anything I had created before. An organic, Latin, sensual beat that finds its groove at 120 BPM, breathing naturally, wrapped around a seductive voice that completes its atmosphere.

Do you have a favourite track on the release?

I’m extremely proud of the final outcome of the EP, and I feel connected to each of the four tracks in a different way. For that reason, I truly couldn’t choose a favorite. What I can say is that once the EP was finished, the path ahead felt very clear to me. As a producer, I’ve always tried to stay away from trends or momentary hype - my references have always been DJs and producers with long, enduring careers, artists whose music stands the test of time. That’s why it was important for me that this EP found a home on a label with a strong legacy, a distinctive and timeless sound. I honestly couldn’t imagine a more natural or meaningful home than Cadenza with Luciano.

You’ve also released on other well respected labels such as 8Bit, Knee Deep In Sound and Circus Recordings. Was there a moment when you felt your music was really starting to gain wider recognition?

Thanks for the kind words! As I was saying earlier, as a producer I’ve always tried to stay away from short-lived trends or passing hype, and instead I’ve been naturally drawn to records that feel timeless. I’m also quite self-critical when it comes to my own work, and most of the time I struggle to fully understand whether a production of mine is truly “good” or not. What’s certain is that I always put all of myself into it, hoping that my tracks can speak for themselves and be recognizable from the very first bar. I still strongly believe that releasing music on a label with a clear ethos, credibility, and a strong sense of coherence can really make a difference. For that reason, I’d like to sincerely thank Yous, Nico, Pit, Daley, and now Lucien for believing in my music and allowing it the opportunity to reach a wider audience.

What does your current studio setup look like? Are there any tools or techniques that play a key role in your production process?

Honestly, my setup is pretty basic. I use Ableton (even though I’m an ex-Cubase user) on a MacBook Pro, an M-Audio audio interface, a pair of KRK monitors, and my trusty Beyerdynamic DT-770 Pro headphones. I strongly believe that what really makes the difference in your work as a producer isn’t the equipment itself, but your creativity and how well you use what you have at your disposal - in the end, it’s always the ideas that matter most.

Outside of the studio and the club, how do you like to spend your time and reset creatively?

I try to take good care of myself - eating well, and training regularly at the gym and the pool, having previously competed at an athletic level. I’m also a huge cinema lover, especially Scorsese and Nolan, and maybe that’s why I’ve always been drawn to records that feel cinematic in their own way - albums with a narrative, with the ability to tell a story or have something meaningful to say. 

What’s next for you in 2026? Any releases in the pipeline or upcoming projects you can share with us?

Definitely my debut on Cadenza! My first vinyl featuring my latest works on 8Bit was also released in March and is already being repressed. I’ve just released a track called “Merengue” on Undergrowth, Fleur Shore’s new label. She’s been really supportive of my sound and also invited me to play at the label’s first Italian showcase this July. I also recently finished a remix for the 8bit fam, which is coming out this summer. On top of that, Nick Curly and Gorge invited me to play at the showcase they’re hosting during Barcelona OFF Week. Thank you for taking the time to interview me, it’s been a real pleasure!

Check out Orizzonti which is available on Beatport now.