Indian Wells

About

" Trance inducing ambient techno from Southern Italy "

In 2012, producer and sound designer Pietro Iannuzzi from Cosenza chose to adopt as his stage name that of the California city hosting the world-renowned tennis tournament Indian Wells and came up with a musical genre he ironically coined “Tennistronic”. The ball and rackets game was indeed the concept behind ‘Night Drops’ (released on Bad Panda Records), his stunning debut made up of samples and synth crescendos, while his white label single ‘Racquets’ featured a hypnotic beat driven by samples of a bouncing tennis ball.

After introducing 4/4 in his second effort ‘Pause’ (2015, Bad Panda Records), an album which features a vocal track recorded with his long-term collaborator Matilde Davoli and a tribute to late Italian designer Massimo Vignelli, Iannuzzi then attracted the attention of the international media. Despite this, it was only with ‘Where the World Ends’ (released in 2017 via the LA-based label Friends of Friends) and its more club oriented emotional techno that Indian Wells gained his well-deserved place close to the peak of the international electronic scene alongside a deal with Mesh Records.

The Bristolian label first released his EP ‘New Ruins’, and then his fourth album ‘No One Really Listen To Oscillators’. The latter is an introspective yet still powerful work, inspired by a New York Times article about Alterazioni Video’s art project ‘Incompiuto Siciliano’ and unfinished architecture works in the South of Italy, in which he also pays tribute to the late fiber artist Judith Scott. On a more personnal note, you can hear the fetal heartbeat of his own daughter, who was born during the making of the record, in the track ‘Before Life’.

Iannuzzi’s work is loaded with precision and dedication. If there were an international tournament for emotional electronic music, this skilled and sophisticated producer would be saluted as a maestro alongside artists such as Jon Hopkins and Apparat. Game, set, and match.