Giomini: Beyond Structures

With Beyond Structures, Giomini strips club music back to its core principles: space, intent, and the tension between sound and silence. The EP unfolds as a focused exploration of form and perception, where restraint becomes a compositional tool and the dancefloor is reimagined as a site for deep listening rather than distraction.

Moving between meditative stillness and forward motion, dub-inflected atmospheres and Detroit-rooted minimalism, Beyond Structures doesn’t chase immediacy. Instead, it invites patience — asking the listener to engage with what’s present, what’s withheld, and how meaning emerges in the spaces in between.

Beyond Structures is described as an exploration of form, perception, and deep listening. What personal or artistic questions were you trying to answer while creating this EP?

‍When I started putting together Beyond Structures, I asked myself very simple but fundamental questions: what does it mean to create music that withstands time? How can a track communicate more through the space between sounds than through the sounds themselves? And most importantly, how can I focus my artistic vision without overloading it, leaving room for the listener to perceive, interpret, and complete the story? For me, this EP was a laboratory of attention, a way to explore the boundary between intention and intuition.

The release moves between motion and stillness, with silence playing an intentional role. How conscious were you of space and restraint during the production process?

Space has always been central. During production, I constantly asked myself: what can I remove without losing substance? I treated silence as a musical element in its own right, capable of generating tension and breathing within the track. This approach changed how I worked on arrangements: every single sound matters, and elements interact without overcrowding the scene. In a way, restraint itself became a creative tool.

Opening track ‘House Music Statement’ feels like a manifesto. What does house music mean to you in 2026, and how does this track set the tone for the EP?

For me, house music is not a genre, but a way of living and thinking — a philosophy of life that finds its fullest expression in the club. Unfortunately, many of these concepts are being lost, but those who love real house know exactly what I’m talking about.

‘Kappa Yokai’ leans into a dubbier, more ethereal territory. What draws you to dub aesthetics, and how do you balance weight and hypnosis?

I’m drawn to dub for its ability to create depth and space without adding unnecessary complexity. I love how delay, reverb, and low frequencies can modulate the listener’s attention, producing a near-natural hypnotic effect. To balance weight and trance, I always respect the gravity of the rhythm, avoiding overload. Every element has its space and its time to breathe.

‘Time And Space Do Not Exist’ introduces a Detroit-tinged sensibility and spoken word. Is this a nod to house music’s lineage or a reinterpretation?

In this track, I wanted to show how house can take on a more minimal and essential form, where rhythm, space, and texture become the main protagonists. The goal was to take those archetypes and let them converse with my own aesthetic.

The closing cut ‘Out Of Tune’ moves into darker, broken rhythmic territory. Is this an ending or a bridge?

I see it more as a bridge. It’s a point of arrival for the EP, but at the same time it hints at where I’m heading next. The darker rhythms and broken patterns suggest ongoing exploration — a tension toward new territories without closing the previous discourse. It’s an invitation to continued listening, curiosity, and anticipation.

The EP frames the dancefloor as a meditative space rather than a place of distraction. How important is intention and listening context today?

It’s fundamental. I believe underground music is not entertainment, but experience. When I release a track, I think about how it will be perceived and how it can transform the listener’s sense of space and time.
The dancefloor can be meditation as much as movement. Music should leave room for awareness and active participation, not just automatic reaction.

You’re also deeply involved in the Playbeatz label network. How does Playbeatz function as a platform for community and experimentation?

For almost 30 years, I’ve been producing for other artists, curating projects, and managing labels and distribution. It’s part of my life, and everything I listen to naturally influences my creative approach.
From a practical standpoint, Playbeatz is first and foremost a space for collaboration and mutual support among underground artists. Together with Weekly Wax, which handles my vinyl distribution, it acts as the container for almost all of my work — both as a producer (Marsupials, Abnormal Boyz, A-Man) and as an A&R and label owner across Back To Life, Neo Life (which will release Beyond Structures), ENVLP, CutMyRecords, and Musica Per Immagini.

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Giomini - Beyond Structures EP is out on 30th January. Please support the artist through Bandcamp here.

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