Italian duo Doomwork have been quietly blazing a trail through the world’s techno and house scenes over the last five years, forming in 2008 and finding rapid success thereafter.
Alessandro and Claudio found their first electronic education in the burgeoning scene of their home nation around the turn of the millenium, before looking further afield to the pioneering heritage of the Detroit techno deities. While this and a growing love of Chicago house helped to form their instincts for a meaty groove, a fascination with the vanguard of stadium-sized dance music (Chemical Brothers, Fatboy Slim, The Prodigy) ensured that they became producers with a dash of pop sensibility about them.
Not that there’s anything mainstream about their slinky take on deep, melodic house and techno; more that it straddles the divide between accessible and credible perfectly. Their music is emotive and immersive, with bold melodies and riffs locked into rolling rhythms and subtle atmospherics. “Our music is ever-changing” the duo say. “We love to find new feelings from all genres and mix them in our personal point of view to give a depth touch to the tracks.”
Just a year after they started producing, they found themselves sitting at the top of the Beatport Chart with the huge Jazzy Stuff, with the biggest players in the scene singing their praises and requests coming in from some of the most acclaimed labels around for productions and remixes. 2010 saw Holland’s 2000 And One begin a relationship with the duo, showcasing several of their tracks on his 100% Pure and Area Remote labels, with Satoshi Tomiie and Hector Romero doing likewise for their SAW Recordings imprint. 2011 saw Christian Smith’s Tronic and Steve Bug’s Audiomatique snap up hot new Doomwork productions, while their stunning debut album Club Abduction was unleashed to widespread praise in 2012. An appearance on Sven Väth’s Cocoon ‘L’ compilation topped off their most impressive year so far.
Outside of the studio, they have largely concentrated on refining their stunning live set, having performed at legendary venues across the world like Barcelona’s Elrow 14, Florence’s Tenax and Tokyo’s Air Club. The dancefloor is not their only focus, however - with a burgeoning volume of work in the soundtrack area for films, computer games and the like now also filling their time. But with a new release on Audiofly’s Supernature imprint and an inclusion on Nick Warren’s latest Renaissance compilation, you can be sure that making people move their feet will be their priority for years to come.
Their ambition is simple: “We'd like to be respected artists with a recognisable sound and a great live act show. To be a benchmark in the music world is our goal and to do that would give us great satisfaction.” Given that they’ve achieved most of this already, they should probably set their sights even higher.