Called Dario Faini, for years we know how to Dardust but from some weeks we have to put in account DRD. He is one of the composers, authors, and producer best known of Italy: from years, is carrying out a project, the neoclassical that has crossed the borders of italy, but in Italy, it is especially known for his productions with a peak due to the explosion of “Money”, the song of Mahmood, who signed with Charlie Charles, as well as “Calypso”, but there are many successes on which to Faini has put the signature, not the last “Guarana” Elodie and “Dorado” always Mahmood. And this last is the first single of the new signature, with which he also released his first single “DEFUERA”, in which he called upon to sing a trio of exception formed by Ghali, Marracash and Madame. The exchange is obliged, after his work as a producer has exploded more and more, and a way to separate his two lives of artistic.
Hello Dario, how ever at some point you’ve felt the need to have separate careers and names to your projects?
I have become increasingly aware that Dardust was that artistic path made up of piano, contamination, instrumental, international, while, after “Money”, instead, the activity by the producer had taken visibility, often was also higher than that of Dardust. Separate the two paths, however, it is more a matter of hygiene and my creative, I didn’t want it blurred, but they were separate.
Before Sanremo, then Calypso etc your name emerged more and more, in fact…
Yes, I saw Dardust, combined with a sound more pop, so he had no way to confuse it with the soul more neo-classical, experimental, electronic, that needs another type of creative process. It was a natural thing to do mental cleansing at the level of identity: we’ve always talked of this identity, the double, and in interviews he often spoke of Dardust producer and Dardust artist and I have been told that there was a need to separate. Always going to remove, so I removed the vowels and came up with DRD as if it were a new brand, even if in reality I always. But I like to think that my artistic path the path on the streaming, on the video that is connected to the pop, which is another important core feature for me.
Let’s say that, by now, your visibility goes hand-in-hand with the explosion of the figure of the producer in pop. Now you can safely go out in your name, with a credibility that the first was more complex to have, no?
I think this is important, because the work from the manufacturer, on sound, on the vision, the sound, the beat has become a part of identity of the piece, in addition to writing. Anyway, when I sign DRD not regret my part as an author and composer. I do not like the sample, I write the riffs, the sounds, the samples I create them, they, I, is an approach that more musician on the beat, for this is important that there is my soul, a composer and an author that is that of my past, then in addition to be producer, in DRD, there is my path from the beginning.
With DeFuera you have united the rhythms of the caribbean to north Africa and the Middle east. That idea you have about what will be pop in the coming years?
I like to think that will pop more and more transversal and contaminated, in which there are no more compartments, categories, but to which so many styles may be united. DeFuera has a beat electronic with the cash in four, there’s reggaeton, there is a riff north african, the arab, there are so many influences, so many cells: there is a verse, a first pre-rit, a second pre-rit, there is a chorus, there is the drop, it is a crossover of many styles, a palette that unites the various parts of the world at the level of artistic influences, I like this thing here. I like to not have a rule, never to have made a reggaeton pure playlist, love in a context that is new, at least the intent is to, without forgetting the attitude of the urban piece, in addition to the latin and that of the middle east.
This you think this can create any problem in going radio piece?
I hope that the insiders or those who listen to the piece is able to infer the courage to create new forms, to create something new, I’m interested in what. I hope that the fact that you move things, to create something original, be rewarded
There is an idea of internationalization of the DRD?
I hope, with the beat of DRD I’d love to explore more of that side of Miami to Los Angeles. In short, the whole scene urban LA, on the West Coast and write there, might be a good lens, being a fan of the whole scene of Compton.
And what is needed to be the one that comes from Italy?
I like the idea that it is not so much the fact that it is Italian, but I’d like to see the barriers of geo-location art can be torn down, even if in our Dna an instinct melodic, emotional, deeper, take it. My goal is to carve out an identity of my own by the producer that is unique in the beyond the geo-location, for this I hope that over time my character becomes more evident that we both bring to my sound research, some of the stamps that I use at the production level, the study of the riff, the theme, I hope to create a character that then is also noticed outside. It is a challenge, but they are just the party.
Returning to DeFuera, how was born this idea?
I liked the idea of this trio’s unique and original, these three artists spanning three generations of pop and urban in recent years, from Marra to Ghali and Madame, that according to me is the next Big Thing in Italian music. I like to create this triptych is unique in that Ghali and Marra meet for the first time, but with a female voice new that is becoming great, and that I think is one of the biggest talents in Italy: for the tone of his voice, for as the pronunciation of the words, for the things that he writes, it seemed like a atomic bomb in this triptych.
The three items that come back after Calypso, are a need or just a taste?
It’s a taste, also on the story of the song with a first verse told by a character in this sort of film with four characters, I in the background, that guide the machine, and I wanted to go out with three companions to travel with Ghali and Marra, who tell two scenes, and Madame on the chorus.
The first signature, however, was not a piece, but to that of Mahmood, and “Guarana” was still Dardust. Why?
Why not, it was still defined the project, we were in the race, we were considering the thing, I was structuring DeFuera, talking with the artists to understand if it could be done.
According to you, it is possible to change this narrative on the hit summer like a little bit repetitive?
I think I have tried does not seem to me that my song is a hit classic with the word meme, the ballet, the trick in the video, my pieces have always of the hook, because this is something that I like, but do not see it as a matter of painful but more like a strategy, my instinct is to do something that remains in the time then I think that at the level of the sound and research, there is something that goes beyond the catchphrase, there is a musical tale different, I do not say better or worse, but my desire is to try to make pieces that you can feel in the summer, and in the autumn, when you want. I certainly appreciate anyone who dares and does the piece with the goal that it becomes a hit, the writing should not be linked to that goal, I like that the person who has the courage to move.