One single consideration suffices to open a description of the artist Boss Doms: «Music must touch all the senses». A phrase that hides an intricate world of lived similarities, musical references, experiences and contaminations. A reality where music and imagery come together to form a genre in which electronic sounds manifest in different ways: from the most commercial to the most sought-after and technical thanks to his work as a producer.
Electronic, techno, hip-hop: he wants to «experiment with different things in music», giving his own identity to each piece: typical sounds of a genre, electronic and techno, designed and repositioned as a true artisan of sound. It is no coincidence that while his early career saw him focus on electrohouse and techno sounds, the artist then approached the hip hop world in 2011 with Dubstep, a remix of the song Jah Army by Stephen and Damian Marley, which anticipated the release of his album Marco Bello & Fried Chicken with the label Evilsound. Experimentation that goes hand in hand with internationality. His collaborations with international artists from Feed Me, Doctor P, Culpate to Dodge & Fuski are not accidental; they are a mirror of how the influences in his career have always come from multiple fronts: electrohouse, trap, dubstep.
BELLADONNA+: Boss Doms returns to techno roots
Only 35 years old and having had important experiences such as two Sanremo Festivals (in 2019 and 2021) and Eurovision (the culmination of his most mainstream career), today Edoardo Manozzi is focused on more personal reflection, conveying himself not only as Boss Doms. Because what distinguishes the young Roman producer born in 1988 is a variety of musical moments and the ability to seek the value of contamination in music.
DJ, composer, arranger, producer. His souls are many, and today rediscovering each different side of himself in a new guise beyond that of Boss Doms «as a producer of electronic music, Italian hip-pop in general»: that of BELLADONNA+. «A darker, more underground» musical soul where techno music is the real protagonist. In short, a return to the techno and electronic origins of his music, which however reflects a constant trend in his experience as an artist: remaining genuine and authentic by making music the vehicle to convey sensations, moments.
«I draw concepts from anything, often not from music but from art»
When did you realize that music would be your path?
I have imposter syndrome. As a child, I approached music, but I never believed in it enough. Until one day, I played in front of 2000 paying people. That’s when I said to myself, “I can do this.”
Can we say that you’ve really made it today?
For me, not yet.
What or who has influenced you the most in your approach to making music?
In the end, I draw concepts from anything, often not from music but from art. Massimo Vignelli, a graphic designer, has also influenced me. As a child, I listened to everything. I was fortunate to have a sister seven years older than me, who exposed me to the best music since I was five or six.
As a listener, which artists have impressed you?
Led Zeppelin, Jimi Hendrix, for example. I went through periods of Metallica, Iron Maiden, Red Hot Chili Peppers, Oasis, and Beatles. In electronic music: Justice, Daft Punk, Deadmau5. In short, millions: the references are endless.
«For me, music is not about technique but something else»
Today, it’s said that making music is easier and accessible to everyone, thanks to digitalization and the advent of tools that allow anyone to create. What do you think?
I have to say that if I had been born 10 or 15 years earlier, I probably wouldn’t have become a musician because I play the guitar, but I’m not a phenomenon, not a virtuoso at all. In fact, I have to write it 90% of the time. So, if I hadn’t been part of one of the first generations making music with a computer, I probably wouldn’t have had a music career; I would have done something else. I wouldn’t have made it as a guitarist because I’m nothing special compared to others, but as a producer and as someone who “writes” music, yes.
So, how was your debut?
I played with the very first music software because I started when I was sixteen, seventeen.
Let’s talk about twenty years ago, with the first versions of Ableton. As time went on, things evolved a lot. Obviously, today, there are a thousand online supports where you can download samples, download things already done. Before, we did everything ourselves, so it’s true that technically it’s a bit easier. But, for me, music is not about technique but something else.
How did you start musically?
I started as a producer first, then also as a DJ of electronic music, including techno.
Which genre made you famous?
I became famous with hip hop.
«I started with electro house and techno, and then I approached the rap and trap world, also making pop music, but always with an electronic matrix. It was our signature, our distinctive character compared to others»
You’ve approached and played many genres. How was it to live through this contamination/evolution in the choice of the sounds you propose?
I started with electro house and techno, and then I approached the rap and trap world, also making pop music, but always with an electronic matrix. It was our signature, our distinctive character compared to others. There was a lot of electronic, there was the use of professional software. Not that other producers weren’t, but the development of sound design is different from those who do hip pop, which is intentionally a rougher genre. Even I, for example, when I make hip-hop music that has to respect a certain canon of the genre, try to be as unsophisticated as possible.
Did the experience of Sanremo push you to experiment with a different approach to your production?
To be honest, it wasn’t Sanremo that inspired me to try different things in music. Sanremo was something I would have never done if it weren’t for the path I had taken. If I had stuck to when I started playing, I would probably have done Tomorrowland, not Sanremo.
It was definitely a nice change of plans. Beautiful. I had an absurd experience, but also at Eurovision, which I would have never done if I hadn’t ventured into a different genre. But let’s say that going to Sanremo with that type of music and songs made me want to go there even more like that. Not standardizing, on the contrary. The tendency is to do the ‘Sanremo style,’ and instead, I’m totally against it.
«After the first, but especially after the second Sanremo, we received a flood of hating, but there was also a flood of appreciation»
What insight did participating in Sanremo give you regarding the audience’s willingness to approach your music?
I don’t have expectations. I never thought, “I wonder if Italians will like my stuff.” After the first, but especially after the second Sanremo, we received a flood of hating, but there was also a flood of appreciation. We brought a rock piece, but the kick and bass were almost techno. They were hidden in the sounds of real drums, guitar. However, if you listen to Rolls Royce in a club, the bottom part sounds like a techno piece.
What projects do you have in the pipeline?
I’m working on Boss Doms as a producer of electronic music, Italian hip-hop in general, as a producer for singers, let’s say. Because Boss Doms in Italy did this until two, three years ago. I will surely have tech-house releases this year, even more electronic music. Then I’m starting a new side project called BELLADONNA+. It’s another Instagram profile, another Spotify, another look, another everything, and it will be exclusively techno.
«In addition to giving you the music, I also provide the imagery, which is an extension of what I’m conveying with the music»
Let’s talk about the relationship between music and aesthetics: how do you try to evolve to avoid conforming and creating a stereotype?
In my opinion, for a complete work, you have to appeal to all the senses a bit. Since touch, taste, and smell through Instagram are a bit challenging to address, in addition to giving you the music, I also provide the imagery, which is an extension of what I’m conveying with the music. Besides, I really enjoy it; I like pursuing this, so I do it gladly. To tell and explain a project well, the visual part is very important. Every time, I spend a lot of time in the studio making songs, and then when the songs are finished, I spend a lot of time at home, around, creating the imagery that surrounds it.
How does this reflect in your new project BELLADONNA+?
BELLADONNA+ has a whole separate imagery, the storytelling is different. You will see me in completely new attire.
With the new imagery of BELLADONNA+, will you try to tell your story on different media?
We don’t rule anything out. If they align with the project and its message, it’s a plus. Surely, I don’t think about things that could distort the project just to bring it to television, radio. It will certainly be a super underground project because it’s techno. You don’t hear 8 minutes of straight kick on the radio, for example; maybe you go to Burning Man and see a DJ set. It will definitely travel on different channels compared to Boss Doms, which is a much more mainstream project, where we make songs sung by singers, so definitely much more radio-friendly, much more TV-friendly.
«In the last two or three years, I’m very focused on foreign countries, electronic music, the international market»
So, what will BELLADONNA+ bring?
BELLADONNA+, from the fashion side, will be more specialized in something underground, dark, noir.
In the Italian music scene, who currently impresses you the most among the new proposals?
I really like Rondodasosa and Paky. They’re not brand new because they’ve been killing it for two or three years. I also like ANNA; she’s killing it. I don’t know if this might offend someone, but I think she’s the most authentic woman in Italy. I don’t see a woman more trap than her. In the last two or three years, I’m very focused on foreign countries, electronic music, the international market. I’m paying little attention to Italy.
I have a big Italian project, which remains mystical for now. Right now, I’m only thinking about that; then we’ll see what comes.
A collaboration you would like to do and why?
Joseph Capriati. Because he’s Joseph Capriati (laughs). Because he’s great. However, for BELLADONNA+. As Boss Doms, I would like to have a nice collaboration with a cool Italian producer. A back-to-back album with a producer like NKO, for example. I’m tired of doing features only with singers. I want to collaborate with those who speak my language. Greg Willen is really good, and he’s a friend too.
What advice would you give to someone getting into music today?
I would say, forget about everything. The only advice I would give is to follow your calling but show yourself super disciplined and tough in doing it. I wouldn’t feel like giving any advice like “Experiment, do this, do that.” Do whatever you want, just do it well.
Boss Doms and BELLADONNA+ in three words.
BELLADONNA+ in three words: poison, feminine, techno.
Boss Doms in three words: sound stylist, musically eclectic, crazy annoyed.
Credits
Editor in chief Federico Poletti
Photographer Luca D’Amelio
Stylist Luigi D’Elia
Make-up Francesca Smeraldi – Mulac
Hair Adriana – Contestarockhair
Stylist assistants Eleonora Alberoni, Melissa Vitelli
Location RKF Honorfarm
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