Let Me Think
It began with tears. A ten-year-old boy listening to The Smashing Pumpkins, overwhelmed by something he couldn’t yet name. That raw emotional response to sound has never left the Italian biomedical engineer behind Let Me Think. From picking up a guitar as a child to touring Europe with post-rock and noise bands, from the electronic explorations of MVTE (which took him to Club to Club in Turin) to years spent pushing instruments beyond their intended purpose with delay pedals, loopers and reversed textures, every chapter led to the same place: a search for immersion, depth and a mental space where the mind can move freely. Shaped by Warp Records, Sigur Rós and Northern European atmospheres, his ambient work feels less like a genre choice and more like the natural conclusion of a lifelong conversation with sound. We sat down with him to talk about that journey, his evolving setup built around a Moog Subharmonicon and Strymon reverbs, and his honest reflections on making art in an era obsessed with metrics.
Who are you ?
I’m a biomedical engineer and music producer. I love playing with brain
How did you get into music? What is your musical background?
For me it started a long time ago, when I was ten years old and cried listening to “Today” by The Smashing Pumpkins. Soon after, I picked up the guitar and became obsessed with sound research. I still use some of the pedals I bought during those years. I spent years playing in post-rock and noise bands, touring across Europe and releasing two albums, before shifting my focus toward electronic music in the early 2000s. Computers, synthesizers, delay pedals and loopers became central to my creative process, expanding the same fascination with texture and emotion that had driven me from the beginning. Over the years I released music under several different aliases. The project I still feel closest to is MVTE, a dreamy Northern European-inspired electronic duo that brought us to international festivals across Europe, including Club to Club in Turin in 2011. Ambient textures and looping structures have always been present in my artistic expression. After years of experimentation, and especially after the pandemic, that research naturally evolved into a new chapter, creating music that Let Me Think.
How did your ambient project begin ?
It happened very naturally. I started by looping and reversing guitars, using delays and textures to extend the emotional possibilities of the instrument. Then an old unused synth slowly found its place inside my compositions, and from there the whole process expanded. I’ve always been interested in pushing instruments beyond their traditional role, searching for immersion and emotional depth more than structure itself. At the same time, I was deeply influenced by artists from Warp Records and by Northern European atmospheres, especially bands like Sigur Rós. Over time, all these elements naturally converged into ambient music. It felt less like a stylistic decision and more like finally giving a solid form to a language that had already been part of me for years.
Where does the name/pseudonym of your music project come from?
I always wanted to create musci that Let Me Think
How did you get into ambient music? What did you like about this style of music?
I got into ambient music through a need for a very specific mental state: open, immersive, and without pressure, but still grounded. I like music that doesn’t push you forward, it holds you in a stable frame where the mind can move freely inside it. There’s also a visual aspect for me, almost like looking at a postcard: distant, static, calm, but still emotionally charged. That combination became important in my daily work, especially in long sessions where I want to stay inside a single idea for hours. In the end, ambient became the most direct way to translate that state into sound, a place where I can stay focused, suspended, and fully inside the material.
Does ambient music accompany you in your everyday life? What role does it play?
Yes Sure, from commute time to deep focus, to relax with the darkness.
What tools do you use to compose music?
My own setup keep changing. Right now i mostly rely on guitar, moog subharmonicon, strymon reverbs, H9 eventide, kaoss pad, korg R3, Torso S4, plus countless of guitar pedals.
I’m drawn to the independent modern music scene because of its immediacy. I like the idea that music can be made and shared without excessive layers of mediation, and that the creative process can stay direct and accessible. At the same time, I’m interested in music as something created by artists first, not as a product defined by external structures. There’s an increasing amount of additional work required around music today like positioning, visibility, strategy and while I understand its necessity, it can easily shift focus away from the act of making. I’m also searching for a way to define value that isn’t fully captured by numbers or metrics. It might be a contradiction, or even an impossible idea, but that tension is part of what keeps me engaged and continuing to explore.
What’s new with you, and what are your upcoming projects?
follow me to find out! 😀
