![]() ![]() “ allows me also as a deejay to play a lot of material that I would never able to play with a standard deejay slot shorter than that. “It's a whole journey into sound that brings the listener on a path that is very rare to experience,” Sangiuliano says. He adds that deejaying for an hour and a half to two hours is challenging as “you have to condense yourself in a short amount of time and be as powerful as possible.” Performing all-night-long sets allows him to take attendees on an expedition through several genres and speeds, such as starting with beatless music before accelerating slowly into deeper and harder tunes. Once the Italian producer began playing open-to-close sets-which is when a deejay performs for the entirety of the show-he found he was more dynamic and able to control the situation in an in-depth way than if he performed a short slot on a lineup. Linked to NINETOZERO is his SOLO event series, with each show revolving around a release from the imprint and providing audiences with the ideology of ‘90s club culture through Sangiuliano’s immersive records. Deejaying and production are two very symbiotic systems in my life-essentials for my balance.” While I play music that gives me inspiration and ideas how it reflects on the crowd, think of what I could create next when I'm in the studio. “What is the next secret weapon,” he says, “that I could shape for my next shows in a club, in a festival or a rave? The same happens when I deejay. In addition to storytelling, his approach to producing music includes thinking about what he’s missing on stage as a deejay. He adds that having his own platform allows him to be completely free to shape the dialogue from his perspective. His goal for NINETOZERO is to be in control of musical narratives and to have a space to express them. The ephemeral imprint will be composed of 10 releases that count down from nine to zero, and once it hits zero, the label will shut down. The deliberate “Outsiders” also displays Jewell’s blues roots as she sings Who was I supposed to be / Anybody else but me, referencing her last few confusing years in a voice that’s soft yet stressed.Sangiuliano’s philosophy when making music is to tell a story, which is the catalyst for him launching his time-limited record label, NINETOZERO. She works wonders digging deep for a relatively straight cover of Van Morrison’s Them ballad “Could You Would You” and slows down the once jaunty Jackie DeShannon gem (popularized by Irma Thomas), “Breakaway” to an unhurried, bluesy lope, advancing its heartbroken theme of being unable to remove herself from an ex, better than the previous, rather frisky, versions. ![]() The overall vibe is elevated with the peppy “Lethal Love” that touches on the bluesy rockabilly Jewell has often gravitated to. His sinewy tone enhances the country-infused “Winnemucca” and the soft, chillingly introspective “Silver Wheels and Wings.” The latter has Jewell singing We’re coming apart at the seams / Nothing is as it should be, seemingly referencing her divorce, over somber pedal steel and guitar solos. His work on pedal steel and other stringed instruments has appeared on dozens of albums and he guests on three songs here. Those who absorb liner notes will recognize the name Fats Kaplin. It’s one of Jewell’s most emotionally intense compositions and introduces a more aggressive sound that weaves through the remaining tracks. The opening “Alive,” whose words provide the album’s title, sets the tone with a dark, ominous, and slightly eerie taut slow-burn rocker where Jewell sings Fill up my glass, I want more/I run on these fumes, accelerator’s floored as Miller inserts his tense, twisty guitar.
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