Promo L'Inverso, the interview

We interviewed Emanuele Noce, aka Promo L'Inverso.

Born and raised in Terracina (LT), class of '88, he is an Italian producer and arranger with an eclectic style and sound that reveals a strong contamination of genres.He runs with Axl Zardoni, Chiara Bettiga and Filippo Rossi the Brianza studio “Golden Eye.” He boasts credits for artists such as: Mezzosangue (“Humanist ‘in the album ’Tree roots and crown” certified gold FIMI), Kento, Lucariello, Prince, July B, Easy One, Shakalab, Laioung, Lord Madness, Metal Carter and many others.

What are your current and future projects?

Together with three other partners, we have a creative hub in Brianza [“Golden Eye Studio,” editor's note] where there are many emerging artists and we work on many other projects of known or historical artists of the scene. I personally am bringing out excerpts from my first producer album in which I gathered a bit all the artists I worked with and now have a human relationship with, who are historical pioneers of Italian rap. I wanted to make a record that is to my personal taste, encapsulating a little bit of what for me was the essence of the Italian golden age or at least of my tastes as a listener when I was a kid, so a dream to be crowned and that I was able to achieve.

Besides the talk of carrying on two projects from my stable like Nova King, two very good Kosovar guys, and Shak Manaly, in parallel with my album, I have been working a lot on other things lately. What we are interested in is giving a sound carpet and professionalism to artists regardless of how many listens they do or what label they have behind them, in fact if we have the chance, we are investing ourselves in artists who are worthwhile. In the meantime, with the Lord Madness  album that came out last month, we're touring, and also I'm playing with a lot of artists around Italy, so stationary you never stay still.

What is that thing that most motivates you to do this work?

It's that of being a bit of an “artist's psychologist,” in the sense that my job is not just to stand there mixing the song or doing a commissioned base; my job is to figure out on the fly the key to the artist's song, to make sure that their message gets through. Every day is a new challenge. And because I am very empathetic, if I work on an album I absorb the vibe of the project to such an extent that the mood changes totally. This for me is something to be proud of, because it goes beyond commissioned work, but rather, it really means being an artist and having the right emotionality to actually understand what the song wants to communicate.

Kind of like the tailor making a tailored suit: it enhances what the person's traits are.

One thing that really pisses you off about your work, the world around the environment you live in every day?

It's that between Instagram and other Social now there is no privacy. I'm not a nationally known producer, so much so that I can afford to have multiple phones to manage my work, and sometimes that filter that separates your private life from your professional life comes a little bit missing. All the more so if you have a family. On occasions like the holiday season, it can happen that the phone explodes with texts and calls. It should be understood that there is a private sphere and as such it should be respected. One thing I have to say though, the kids who work with me understand this and respect it. And often, it is the younger guys who have more education in this.

What do you think of the “hype” discourse?

I think the hype talk is a bit overused lately, but it's one of those actualized terms that you can't do without now. Unfortunately, the younger generation, finding myself talking to insiders as well, are not able to handle it, especially with the amount of budget that goes around for this kind of work. If I had that kind of possibility, one of my goals would be to get to make two records a year with a guaranteed advance that would allow me to live and just focus on that, without having to do a million things, but I would know how to administer the money and hype talk. So sometimes even the people in the industry would have to figure out who to give these chances to.

Would you like to work more on a reasoned product rather than “fast”?

I am able to do 50 pieces a week from that point of view, however, what is left?

In the sense, the search for sound, where is it? There is no longer the conception of making albums that are meant to stay, also because artists don't make a living from that point of view anymore, because the payments are low, there is little margin, especially for emerging artists, who are very penalized. On the other hand, in order to maintain the hype you have to publish in bursts.

Quality over quantity always matters more to me, though.

What are the musical influences that led you to find inspiration for your work?


As a kid I was a big Colle der Fomento fan...I then loved the Milan scene, such as Ape, who by the way is now a friend, Esa, then Tormento, with whom I also keep in touch, and Club Dogo.

I had 'this thing that to get out of Terracina, periodically I would take the train and go to Milan or Rome just to walk through the buildings of the Metropolis and listen to the music of the place. So I would have these “mega-trips,” feeling like I was in New York. This was helping me escape.


In terms of listening, I'm a big vinyl collector and lover of funk, reggae, soul, progressive rock, rather than dance and the like. In fact, I like to mix a little bit of everything, bringing out my own sound. Being a former drummer has also helped me a lot in this.