ACCHORDIO is a project built around immersion, emotion, and presence. Conceived as a space rather than a genre, the debut album invites listeners into a world where intimacy and expansiveness exist side by side. Drawing from New Age calm, R&B feeling, and ambient textures, ACCHORDIO treats sound as something you step into rather than observe.
At the heart of the project is a deeply human approach to making music. Vocals move between lead and texture, melodies arrive through intuition, and every sound is placed with care using the Acusonic Process, a custom recording and mixing method developed in London to create a three-dimensional listening experience without relying on AI or external audio systems.
– The album feels like an immersive world. When you started creating Acchordio, what kind of environment or experience did you want listeners to step into?
From the start, the intention was to build a sonic environment where intimacy and expansiveness could coexist. No rules, just melodies and feelings… The debut album was crafted as a space where New Age serenity meets R&B emotion, creating “a luminous convergence… a sonic tapestry that is both intimate and immense” . The Acusonic Process allowed every sound to occupy its own place within a three-dimensional field, so listeners would feel as if they were stepping inside the music rather than listening from the outside.
– Your vocals are often used as instruments within the soundscape. What inspired this approach and how do you decide when your voice should lead versus blend into the textures?
Vocals in this project are designed to function as both emotional carriers and atmospheric elements. When the melodies started to form in my head, I was immediately recording them as voice notes and later transporting to the studio. Sometimes some vocal lines started to shine more than others, and then, through the melody, the lyrics or the message behind the song starts to create their own form and color… I’d like to say I didn’t decide what goes where… the music took shape by itself. I was just a vessel of the universe translating the sounds into a piece of music. Of course, every track is later kind of shaped by the Acusonic Process and by the project’s commitment to human-crafted, emotionally-driven sound design.
– Tracks like Safe and Nightlife blend ambient electronic tones with R&B, jazz, and pop. How do you navigate these genre boundaries while keeping the album cohesive?
“Nightlife” explicitly treat vocals as part of the environment, I’d say the vocals are like“silky harmonies… more like an atmosphere than a performance”. Safe, as the first track put Nanni’s vocals in a place to tell the listener: it’s okay, you’re safe with us, now relax and enjoy the ambience. When you treat music as a real organic and natural part of your life, the genres simply cause a natural fusion, without any plan. We just need to keep some focus in the narrative, which happens after everything is recorded and captured: The final direction before the track is finished. So, I believe that happens naturally. We don’t need to think too much, just “feel the song” as Nanni says in the opening.
– Some songs feel cinematic and intense while others are intimate and soulful. Which emotional landscape was the hardest to translate into production?
The most challenging emotions were the ones that required pairing fragility with magnitude. For instance, “Robot” balances futuristic textures with a deeply human sense of longing, like…“haunting and human… suspended between technology and emotion” . Capturing vulnerability while maintaining the project’s expansive…
– Music Box stands out with its nostalgic bells and memorable melodies. What drew you to that sound and what story does the track tell?
“Music Box” was built around a real Japanese music box from 1946, a family heirloom and gift from my mom. The track preserves every fragile mechanical detail, turning nostalgia into an emotional centerpiece. The song is “a meditation on memory and legacy, where sound becomes emotion”. I had written and produced most of the album, when one day looking for an external hard drive in a drawer, I found that music box. Showing heavy signs of decay… I open it and it started playing the melody that transported me back to my 5 year old version… I immediately though: This needs to be part of this album… I think i wanted to recycle the nostalgia. After the most complex part, which was dissembling the music box, recording and resampling its sound, this piece of music got completed in like… 30 minutes.
– Many of the melodies linger long after listening. Do you have a process for writing hooks and motifs, or do they emerge more intuitively?
The melodic process is rooted in intuition and the emotional intent behind each track. Because the project blends global influences and emphasizes handcrafted sound, hooks often emerge naturally from improvisation, layering, and spatial positioning rather than formula. Probably the Acusonic Process allows motifs to feel physically present, helping them resonate after the track ends.
– Several songs feel experimental and unconstrained. Was there a moment in the creative process when you decided to push beyond conventional boundaries?
I like to think that ACCHORDIO’s identity is built on boundary-blurring experimentation from the outset. The project includes collaborations not only with global artists but also with non-traditional “artists” like the DEC LA-50 printer, reimagined as a rhythmic performer in “Robot” . This embrace of unconventional tools and global voices made experimentation a core principle rather than a late choice.
– The remixes at the end of the album offer new interpretations of your songs. What did you learn about your music by hearing it reconstructed through other producers?
The CD edition includes House and Club mixes for “Nightlife” and “Music Box,” demonstrating that the project’s emotional and spatial DNA can adapt to more mainstream, high-energy environments. I also have club mixes for THE LIGHT, a new single coming out December 18th. Seeing the songs translated into club-driven formats confirmed the flexibility and universality of the project’s core sonic architecture. I also have something to reveal: I made all the remixes, not other producers. When I write a song, I usually imagine that melody in different types of environments… soon, different ways to bring that melody to life takes the control and I usually go back to the studio and start working on alternate versions, let’s say a different way to tell the same story hahahaha
– Some tracks feel like an escape into a different headspace. What personal emotions or experiences were you exploring while making this album?
The project explores the tension between solitude, hope, and emotional connection. “Nightlife” embodies the “quiet euphoria of existing in the in-between” , while “The Light” reflects resilience and finding warmth in difficult moments, encouraging listeners to “catch the light… if you need some affection”, almost saying “you’re enough,you have your own light, catch it now”. Much of the album revolves around seeking meaning and comfort in introspective states and soothing melodies.
– Now that Acchordio is out in the world, what do you hope listeners feel, understand, or reflect on after experiencing the full album from start to finish?
The hope is that listeners experience both connection and expansion. The debut album could be called “a manifesto of artistry, authenticity, and connection” . ACCHORDIO invites listeners to explore emotion through a deeply human lens, supported by precision-crafted sound. No A.I. If the album helps people feel inspired, understood, comforted, or transported to a space where emotion and craftsmanship meet, then its purpose (if we have one) is fulfilled. If listeners walk away feeling seen, uplifted, or transported into a more reflective space, then I can say we are all happy. And we I mean all the artists connected with this project: we make music to connect and help other people navigate turbulent waters. If we touch other people’s hearts, we’re happy and satisfied with that outcome!
