Info

**My name is Davide Santandrea.** I live in Russi, Italy, near Ravenna, with my wife, son, cat and our dogs. 

[sept. 2022]

I began my musical journey in 1991, influenced by bands like Nirvana, Guns N’ Roses, and Metallica, which led me to pick up the electric guitar. However, with the world already full of rock guitarists, I decided to shift gears and started playing the piano and keyboards, finding there was always a need for a good keyboard player.

For the first decade, I played rock, metal, and prog. Then, I joined a band called Transgender and developed a deep interest in hardware gear. My musical inspirations evolved, drawing from artists like Aphex Twin, Matmos, Boards of Canada, Autechre, and Squarepusher. But the albums that truly changed my perspective were Björk’s *Vespertine* and Radiohead’s *Kid A* and *Amnesiac*. Since then, I’ve continued to play live and produce electronic music.

Over the past thirty years, I’ve never stopped playing. Music has become more of an obsession than a passion for me!

From a financial standpoint, music isn’t my main profession—it’s more like a secondary job that provides some income. My primary work is as a freelancer, focusing on graphic design and website development.

I actually prefer it this way because music, for me, is all about freedom—being able to create without the constraints of deadlines or schedules imposed by others.

**What’s the one thing in your studio you can’t live without?**
I have a very fluid approach to my studio setup, frequently changing it and moving things around. To me, inspiration is everything, but it’s not something I can always find in a synth or laptop. So, my most indispensable studio element is actually inspiration itself.

**What’s your process?**
1. **Improvisation** – I love to improvise because it allows me to create something raw and imperfect. I record these sessions and listen back the next day to see if there’s anything worth developing.
2. **Development** – If I find a good idea, I’ll expand on it in the DAW, eventually turning it into a track under my project name, Blossom Bisquits.

**How would you explain your style?**
I listen to a wide variety of music and work on many different projects, but I have a particular affinity for dark, atmospheric sounds (inspired by Lorn), distorted synths, and powerful, full-bodied drums reminiscent of the Roland CR-78. I also frequently collaborate with a friend who plays cello, which adds a unique element to my sound, especially when the cello is processed and treated.

Another characteristic of my style is the exploration of unusual and imperfect timings, much like Radiohead. I also enjoy using slightly off-key samples and unconventional sounds (a nod to Boards of Canada). My music doesn’t aim for the polished perfection of a sequencer; instead, it thrives on a more organic and imperfect sound.

**Has building a hardware setup changed the way you think about music or life in general?**
I often change my gear setup because I find that sticking with the same instruments can become a creative block. Twenty years ago, I used software like Ableton Live, but now I find software limiting and prefer not to be in front of a screen, given that my day job already involves a lot of computer work.

I’m constantly searching for instruments that feel right and give me immediate feedback. I work well with the Circuit Tracks, Microfreak, and DFAM. For example, I find the Akai Force too cumbersome and structured for my style, as my creativity flourishes more within limitations rather than endless possibilities. That’s why I’m always experimenting with different instruments, looking for the right vibe to inspire my improvisations.

**What’s your one tip on music production or creativity?**
Creativity needs to be nurtured. Don’t be afraid to shake things up—disconnect all your cables, reconnect them differently, or dig out that old drum machine you haven’t used in ages. Avoid falling into routines, as starting from the same place will always lead you to the same destination.