Words by Art Jefferson
Photography by Julius Dettmer

Franz Scala isn’t your average producer. He’s a musician and musical mastermind who is able to convey emotion and texture in his songs which burst with sheer passion. Initially cutting his teeth in the rock & roll world back in his native Italy, once Scala discovered the sounds of dance music, he transferred his skillsets from the previous genre to the latter. The result has been decorative, body-moving Italian dance wave, Italo-disco, upbeat new wave, house, dark disco, and more. There is a classic element to his work that stands solidly next to the great producers of the 70s and early 80s eras. Yet his added modern flair also makes his work accessible for the clubs of today, without sounding super ‘throwback’.

Along with fellow music titan Fabrizio Mammarella, Franz Scala founded the Slow Motion and Wrong Era record companies – imprints dedicated to preserving the quality of electronica and dance. Aside their own records released on the labels, Slow Motion and Wrong Era are responsible for putting out music by the likes of Rodion, Curses, Karolina Bnv, Marcello Giordani, Hara Katsiki, PCL, and the list continues. One of the most consistent companies in the business, the labels’ quality control has been nothing short of top tier.

Franz Scala’s latest album Cafe Futuro finds the artist pulling from his Italian roots to deliver incredible Italo and dance-driven sounds that are moody, ripe with depth, and of course tailored to the clubs. The 9-track LP features Local Suicide, Acid Gymnastics, Furotica, and Charlie. To call it entrancing would be an understatement, but all in all, Franz Scala is doing what he does best, releasing music that is unquestionably timeless.

Delving into your history, as someone who was heavily into rock, when did begin tapping into more of the house side of music?

Franz Scala – I started out in bands back in Italy, playing noise and sonic rock and at that time live energy was everything to me. But over time, I became fascinated by how machines could create the same tension and emotion as guitars. When I discovered underground dance music, something clicked. It was like finding a missing link. The classic song structure stayed with me, but I wanted to translate that emotion into the hypnotic rhythm of dance music.

Being originally from Italy, was there an early discovery of Italo-Disco or did that come a little later down your musical explorations?

Franz Scala – Italo-Disco was always there in the background in shops, radio and television. But as a teenager, I didn’t fully appreciate it. I rediscovered it later while digging for records. Suddenly, I heard it differently: the emotion, the melancholy, the hidden synth melodies. Italo became a time machine and a projection of what the future once sounded like, it defines how I see music today.

When did you first start delving into production? Also were you already DJiing by that time period?

Franz Scala – Yes, I was DJing before I started producing. Around 2008–2009, I was deep into collecting records, playing parties in Berlin, and experimenting with sounds. Production came naturally after that. I wanted to capture the same atmosphere I was chasing in the club. My first track on vinyl was “Grauzone” on the London based party “World Unknown” related record label.

What I love about your production is that it is ripe with emotion and feeling. Whether tracks like you remix of ‘From A to B’ or releases like ‘Mondo Della Notte’, the songs aren’t static, they’re filled with depth and texture. There is also these hybrids of sounds from dance, to new wave to Italo, and more, that all work cohesively. What is your creative process like when writing tracks and how long did it take you to nail your sound?

Franz Scala – Thank you, that means a lot. For me, every track starts with a feeling or an imaginary. It could be a song I hear while digging, a movie scene, or even a word. I like to blend analog warmth with digital precision, combining Italo dream with house energy and new wave attitude. It took years to arrive at a sound that feels personal.

You founded Slow Motion along with Fabrizio Mammarella. Was launching a label always one of your goals from the beginning? Also what do you look for in an artist when deciding to sign he or she to the imprint?

Franz Scala – The label came out of a shared passion for records that felt both 80’s and modern at the same time. When we started the idea was to create a platform for Italian producers connected with this same vision. We wanted to showcase a sound rooted in Italian music history but not trapped into nostalgia. When we sign artists, besides the music it’s about personal feelings and attitude. We look for people who understand our concept, who can make you dance and dream.

Your latest album Cafe Futuro is fantastic. I love ‘Telephone Boy’ and ‘BIT99’. The songs throughout the record are passionate and mood enhancing. Can you talk about your approach and aim with the new LP?

Franz Scala – Thank you. Café Futuro actually began as a real place, a bar in NK I was running in Berlin. It became a kind of meeting point for friends, artists, and music lovers, where all types of characters mixed freely. There was always music, of course — from obscure Italian wave to cosmic disco, balearic and synthpop. Over time, that atmosphere, the conversations, and the sense of community started to shape ideas for the album.

Another track that stays in rotation for me is ‘Saxon Rebel’ with Local Suicide. There is the incorporation of acid as well as new beat in the production. How did that collaboration come about?

Franz Scala – Local Suicide are among my oldest friends in music, we’ve shared nights, dance floors, and memories. ‘Saxon Rebel’ actually came together very naturally. I had the instrumental track ready, a kind of crossover acid-driven groove with that new beat tension I love, and I sent it over to them. They immediately connected with the energy and built their vocals on top of it. Even though we weren’t in the studio together, it felt completely organic like an exchange between old friends who already know each other’s music view. Their vocals gave the track a more dark romantic edge.

Finally, it would be remiss of me if I didn’t mention your Italorama Bar nights. What are some of your most memorable moments with the event?

Franz Scala – Italorama Bar is very close to my heart. It’s the main event of my label Slow Motion here in Berlin, and it takes place at Berghain / Panorama Bar. What makes it special is that it’s Italo disco genre related night, which already gives it a kind of surreal magic. Bringing that sound which was once too nice and emotional, even a bit misunderstood into such a legendary space feels like closing a full circle. Every edition has its own highlights. You see people dancing to Italo, new wave, and cosmic sounds until the early morning, completely lost in that timeless energy. Some nights feel almost cinematic like being inside an 80s dream. For me, Italorama isn’t just a party; it’s a statement that this music still connects deeply with people today.

https://slowmotionrecords.lnk.to/CafeFuturo

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https://www.slowmotionmusic.it/
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