Italian producer MOWGLI is no stranger to evolution. From rural hip-hop experiments and illegal raves in Bologna to releasing soulful house tracks infused with live instrumentation, his path has always been guided by instinct rather than industry trends. His latest single, “It’s So Good”, has been described as an “antidote to AI-driven production”—a return to organic methods and human imperfection.
We sat down with MOWGLI to talk about groove, independence, the role of creativity beyond the studio, and why originality might just be the last true frontier in electronic music.
feeder: “It’s So Good” was described as an antidote to AI-heavy production. What specific moment or idea pushed you to reject digital tools for this track?
MOWGLI: It wasn’t a rejection of anything. I still produce digitally. It was more of an attraction to a different way of making music. I wanted to experience what it feels like to record everything with real musicians.
f: From hip-hop in rural Italy to illegal raves in Bologna, and now to soulful house with live musicians—how do you see this track fitting into your evolution?
M: I’ve been doing house music for over 20 years. Hip-hop and illegal raves were my youth. These days, I don’t care about what people expect my sound to be. My next track could be dark as hell. It’s all part of the process.
f: After founding one of Italy’s most successful creative agencies, how has that wider creative experience influenced your music or your label strategy?
M: The agency didn’t influence my music directly. In the studio, I’m still an artist—I don’t want industry dynamics to affect that. But it definitely helped me understand how to strategize the release process better once a track is finished.
f: You’ve hinted at signing other artists to Disco Volante. What would a track need to have for you to instantly feel: “this belongs on my label”?
M: Groove! I enjoy many genres, but what they all need is groove. We might release House, Deep House, Tech House or Afro House—it doesn’t matter, as long as the track makes me want to dance.
f: Which single plugin, hardware, or technique became unexpectedly central to your process in 2025?
M: I can’t really name just one. It’s about adding something new every day. You keep evolving by learning new tricks and refining your techniques.
f: With AI able to remix stems in seconds, what’s the one thing you believe only a human producer can bring to house music?
M: Originality. AI can replicate the past with impressive quality, but it won’t invent new sounds or genres. That’s still in the hands of those few producers who are brave enough to explore new territory. For the majority who just replicate, sadly, I don’t see much difference between them and a machine.
f: As someone who’s shifted between underground and mainstream, what personal sound are you aiming to explore next?
M: I’ve never made a distinction between underground and mainstream. The only line I draw is between good and bad music. When I start a track, I don’t plan—I just see where the sound takes me. If you look at my project folder, you’ll find tracks that are club-focused and others that are super radio-friendly.