Ciro Vitiello is an electronic artist from Torre Annunziata (Naples) based in Milan. His last work, “The Island of Bouncy Memories” was released on Hundebiss & Haunter Records in 2024. His compositions are a hypnotic fusion of influences drawn from the ambient and noise culture, weaving together an emotional sonic tapestry. Ciro’s sonic signature is distinguished by his use of distorted analogue synthesisers, evocative field recordings, and the incorporation of noise and acoustic instruments. This eclectic blend creates a unique dimension of music where distortion and thunderous loudness collide, forging a mesmerising auditory experience.
Hi Ciro. How have you been lately? What have you been up to?
Hey! I’m feeling really good, super relaxed. A few months ago, I released my latest album, The Island of Bouncy Memories, on Haunter Records and Hundebiss. It’s a project I spent almost three years working on, and I got the chance to premiere it at a Threes Productions event and at the Lost Music Festival. After that, I took a proper break and went on vacation, so now I’m feeling refreshed and recharged.
Can you talk about your background? How did you start making music?
Ever since I was a kid, we had this old upright piano at home. Playing it was my go-to activity whenever I was bored or feeling down. But the moment that really sparked something in me happened when I was about 13, back in middle school. The last bell of the day had just rung, and while everyone else was leaving, I snuck into the room where the town’s orchestra would rehearse; it was inside the school. I remember squeezing past the instruments in the dark when I saw this strange-looking object. I smacked it with my hand, and it turned out to be the timpani drum! That moment lit something inside me. I rushed out of there, worried I’d get caught, and when I got home, I asked for my first drum kit. It took a lot of convincing, but eventually, I got it. That was the beginning of it all.
Funnily enough, now I won’t even touch a drum set, even if someone tried to force me, haha! But who knows what the future holds…! Anyway, over the years, I never really stopped making music in one form or another. Thanks to my older brother, I discovered my first music production software on the computer and started experimenting from there. To be honest, it was a bit of a disaster, but I remember posting tracks on MySpace when I was still 13. Later on, I got into experimenting with ‘80s analogue synths. To afford them, I’d buy broken ones, fix them up, and then sell them as repaired, but not before playing with them and collecting sounds along the way! That whole process allowed me to explore a lot of different instruments and really helped me discover my own approach to making music.
You come from Naples—a city whose music scene might not be widely known, aside from perhaps Tarantella. How is the music scene there, and has it inspired you?
Neapolitan music is an immense cultural treasure, made up of so many genres. The “Neomelodic” music scene has definitely influenced me. When I was younger, I’d always have the local city radio station on in the car, where they only played Neomelodic tracks and love dedications. That aesthetic shaped the early stages of my project as Ciro Vitiello. My first tape, *I’ll take you into the guard rail*, draws directly from that world. But truthfully, musically speaking, what has influenced me the most are the experimental works of Neapolitan artists from the ‘70s, particularly Luciano Cilio, a brilliant artist who tragically took his own life at a young age. He opened me up to an entirely new soundscape. I explored the entire underground Neapolitan music scene in my show for NTS, *Napule ‘e Notte*, where all my influences come together, from Cilio to Pino Daniele and Napoli Centrale, and more.
On your debut album, The Island of Bouncy Memories, you touch upon the tragic echoes of Nisida—an island off the coast of Naples, infamous for hosting a youth detention centre. Can you talk about this?
The island of Nisida is closely tied to the marine imagery that the album draws from. In recent years, I’ve often found myself thinking about the influence the sea has on our lives, especially since I come from a small coastal town near Naples, Torre Annunziata, where I lived for 25 years. I’ve had a somewhat ambiguous relationship with the sea since childhood. Pino Daniele used to say, “Those who have the sea have nothing.” And often, it’s true! The sea seems to solve everything—looking out at the horizon gives you the sense that you have endless possibilities in life. But for those of us who come from a city troubled by crime and corruption, which has led to a cultural decline, seeing the sea can trick you into thinking everything is fine. But nothing is fine. Living with a view of the sea eases your pain and distracts you from it, but every day, you end up back where you started. Nisida, the island that houses the Naples youth detention centre, has always made me wonder how those who live there must feel.
The album, in general, touches on memories and dreams. What inspired you to make this album, and what role do memory and dreams play in your creativity?
What really inspired my album were the dreams and reflections I’ve had over the past few years, where I’ve often dreamt of talking animals—specifically horses, dogs and sea creatures. Dreams play a huge role in my life. For one, I actually dream of composing music. I’ll wake up with a beautiful melody in my head, but inevitably forget it after a few seconds. Beyond that, dreaming helps me understand so much more about myself than I can when I’m awake and conscious. The subconscious is something we should all explore more deeply, and all I can do is listen to what these talking animals have to tell me!
You’ve also done several radio shows—for BBC Radio 6, NTS and Radio Raheem. What kind of music do you listen to, and can you give us some listening tips, perhaps from your own record collection?
I listen to a really wide range of music, and what I’m always looking for is a certain emotional depth and sonic aesthetic. My main listening habits revolve around Indie-Folk, Ambient, Shoegaze, Slowcore, and Pop Music. Some albums that have deeply influenced my emotional connection to sound are “Dawn” by Mount Eerie, “Elephant Shoe” by Arab Strap, and “Happy Songs for Happy People” by Mogwai. An album I’m really into at the moment is “Two Star & The Dream Police” by Mk.gee.
What does the future have in store for you?
I’ve got two soundtracks coming out soon—one for a film and one for a short. Lately, I’ve been focusing a lot on composing my new album, working on a few collaborative projects, and obsessing over finding the perfect coffee blend. Hopefully, one that won’t keep me up too much!
Interview Lucia Udvardyova
Photo by Sara Scanderebech, style by Virginia Alessandra Carillo