Don Cicci
London-based producer Don Cicci takes us behind “Polpette,” exploring 1970s Italian compositions, boom bap aesthetics, sampling, cinematic storytelling, and the evolving creative vision shaping his distinctive sound.
1. “Polpette” blends classic boom bap aesthetics with the atmosphere of 1970s Italian compositions. What first drew you to that particular era and style of music, and how has it shaped your identity as a producer?
Yes, it all draws back to experience and influences. From a young age, people around me made an impact and influenced me in listening to and watching general media. I was always influenced by certain film soundtracks, and to me, the 1970s were the era of beautiful composition and expression of tracks. In regards to my identity as a producer I think the craft itself is ever evolving and I am still learning because there is so much to look at when producing, 1970s style as you say is only another style I produce, where I am pretty diverse and open to creating alternative genres.
2. The instrumental of “Polpette” seems to balance cinematic beauty with a certain street-level grit. When you were creating the track, what kind of emotions, images, or atmosphere were you trying to capture?
The whole track immersed in itself was an expression of combined things like beauty and tragedy, whilst the main element for me is the whole track is telling a story without lyrics and any listener can capture his or her story and perceive it through actual listening of the track, as to what he or she may think, or to add any emotions. That’s what makes this track unique.
3. Sampling is clearly an important part of your creative process. How do you approach finding the right samples, and what made the elements you sampled for “Polpette” feel like the perfect fit for the production?
Sampling, not only for me but for many other producers, is a major game changer; finding the correct sample requires a good ear for music. For me, the quality and depth of a track and how it makes me feel in a way to want to express it to the listener, is important.
4. You describe “Polpette” as one of your most carefully crafted productions. Can you take us inside your programming and arrangement process and explain what went into building the beat from its initial idea to the finished track?
To briefly say, the track was touching; therefore, I chopped it into 4 bars and 8 bars, then rearranged the track and programmed the beat and bassline according to the correct chord progression. The process is pretty straightforward but on point.
5. You created “Polpette” in your home-based studio in London. How does working in your own space influence your creativity, workflow, and willingness to experiment compared with working in a traditional studio environment?
To me, working in a home environment is no different from working in a studio; it is pretty much the same, but working from my own space does save paying for resources in a studio, whereas in a studio you have more facilities to experiment and work on, but obviously there are more costs to that. I think it goes hand in hand.
6. You’ve said that “Polpette” could be one of the strongest boom bap productions you’ve made. Looking at the track now, what are you most proud of, and where do you see Don Cicci’s sound evolving from here?
Polpette so far is definitely one of my favourite productions to date. I like to express positive pride in my work and accomplishments, which is not to be mistaken for arrogance or vanity, but rather knowing I put the work in, show up and trust in the process itself more than the results. As far as the sound evolving from here, we’ll have to wait and see; stay tuned in!