Inside the record: “You are sleeping EP” by Nicodemo on Alzaya Records

Nicodemo, an Italian producer and co-founder of Alzaya Records, seems intent on situating his new EP, “You Are Sleeping”, in a space suspended between perception and ethereal listening: five tracks that explore states of suspension through a restrained and refined electronic vocabulary, hovering between leftfield house and a spatial structure that owes much to the dub tradition.

The record, which marks the producer’s return to his own label following the “Radio Meccanica EP” and the “Spaziotempo EP” created with Volantis, unfolds not through conventional structures of tension and release, but as a gradual alteration of the listening conditions. The spatial coordinates fade, vocal fragments circulate like residual signals within the mix, and time seems to flow according to a different, almost dreamlike temporality. Guiding us on this sonic journey is the title track, which introduces the album’s central logic: a measured yet insistent rhythmic structure underpinning out-of-focus vocal presences and delayed harmonic responses. Next comes ‘Echo Phase’, which further develops this approach through layered reflections and a recursive spatial treatment, whilst ‘Minor Haze’ reduces structural clarity in favour of a tonal suspension that blurs the contours of the harmonies.

On the B-side, the reinterpretation by Domenico Rosa – a producer from Campania known for his understated elegance and founder of Imprints Records and Propersound Records – shifts the material towards a more explicitly club-oriented sound, without, however, sacrificing the perceptual instability that characterises the original. Aldonna, producer and founder of the Re-Leaf label, transforms “Echo Phase” into a more abstract temporal realm, treating the original as mnemonic material to be stretched and distorted.

We met Nicodemo (born Vincenzo Bilotti) to discuss the creative process behind this work, his hybrid approach blending analogue and digital techniques, and how he managed to strike that balance between depth and clarity that makes “You Are Sleeping” a listening experience that is as immersive as it is defined. He spoke to us directly from his natural habitat, the Audio XL studio which he shares with three other producers (Alessandro Volantis, Fulvio and Max) – an environment of constant exchange that has significantly influenced the EP’s genesis.

How would you describe your general studio approach (digital, analogue, both)? Which machines / synths were essential for this EP?

My approach is a balance between digital and analogue. I like to exploit the flexibility of the digital domain, but at the same time I always try to use analogue gear when I have the chance to spend long hours in the studio and experiment. I don't have a fetishistic attitude towards hardware – for me, the final result is what matters. For this EP, some key synths were the Korg Minilogue and the Virus, especially for basses, drones and textures. Then there is a lot of manipulation work inside Ableton, where I build and transform the sound.

Did you mix entirely in‑the‑box, or did you also use external outboard gear? And what was the most challenging element to make sit together during the mixing phase?

The mix was done 50% in the box and the other 50% by passing through analogue outboard. I work on my productions at Audio XL, a studio I share with three other producers – Alessandro (Volantis), Fulvio and Max. It's an environment where we constantly exchange ideas on sound, share feedback and listen to each other's works in progress. Even for this EP, their input during the mixing phase was invaluable: having different ears and external perspectives helped me make clearer decisions. The biggest challenge was finding a balance between depth and clarity. There are many reverbs, delays and sonic layers coexisting in the same space, so it was important to maintain that immersive feeling without losing definition and movement.

When you started working on the tracks, did you already have a clear idea of the sound you wanted, or did the research run parallel to the writing?

The research was completely parallel to the writing. I had an idea of the atmosphere I wanted to achieve, but not a predefined sound. Each track contributed to building the record’s identity, and only as I went along did I realise they were all speaking the same language. I like to let the tracks suggest the direction rather than imposing it from the start. When a piece takes a different path from what I had imagined, I usually try to follow it.

Did you build the drums from samples, drum machines, or did you synthesise them from scratch? And during the mix, what did you push more – the body of the kicks or the high frequencies of the percussion?

It's a mix of approaches. There are samples, drum machines and various sounds that have been processed and layered until they become almost unrecognisable. Rather than aiming for immediate impact, I was interested in creating grooves with a strong sense of depth and dynamism. During the mix, I paid a lot of attention to the relationship between kick and low frequencies, letting the percussion find their own space without becoming too aggressive. I tried to highlight the sonic textures that excited me most within the groove. These are elements that aren't immediately noticeable but change the perception during listening.

Did you give the remix artists any specific guidance, or did they have complete freedom? When you first heard their mixes, was there anything that surprised you or that you never would have expected from your material?

The only instruction I gave was to imagine versions more oriented towards peak time, because I wanted the package to have a more club‑oriented dimension as well. For the rest, they had total creative freedom. During the feedback process, I asked for a few minor tweaks, as is normal, but I always tried to accommodate their vision. That's precisely why I choose certain artists: I'm interested in seeing my tracks reinterpreted through their language. Both of them surprised me, because they managed to bring out elements that in the original had a more secondary role, placing them at the centre of the composition without losing the track's identity.

With You Are Sleeping, Nicodemo does not merely release an EP: he constructs a listening environment in which orientation gradually loosens, yet never entirely collapses. A work that confirms the artistic maturity of a producer who, through the Somewhere project and the Alzaya Records label, is helping to redefine the boundaries of Italian electronic music, with a gaze that embraces both the club tradition and the most sophisticated experiments. The record is available on all streaming platforms from 25 June.