Introduction

Hello everyone is your host Faithfulness and today I have with me Stefano Palmonari from Italy, Bologna. Stefano Palmonari is here to discuss about his recent album “Into the Pattern Zone”. Welcome Stefano Palmonari. Before we begin our interview here is what you need to know about this artist.

Born in Ferrara on September 7, 1973, Stefano Palmonari discovered his passion for electronic music through a humble Commodore 64 that became his gateway to sound design and programming. Inspired by pioneers like Rob Hubbard and Ben Daglish, he began composing for the C64 and later collaborated with Simulmondo, Ubisoft, and Playstos Entertainment. Known as DustBin in the PC demo scene and a member of the independent label Charlie Brown Records, his early works remain a staple on Modarchive and similar platforms. Beyond electronic music, he fronted the metal bands Crying Steel (2009–2014) and Blindrage (2015–2017). Today, Palmonari continues to share remastered and unreleased compositions on his revived SoundCloud page, celebrating a lifelong journey through sound and innovation.

Having this brief Introduction, I’m sure new and current fans must be excited about our Interview today.

Interview

1. To begin with, let’s review your recent work. What is the inspiration behind “Into the pattern Zone”?

The inspiration actually came as a reaction to my previous album, “The Inscrutable Judgment of the Aenigmatic Observer”. That work was fully orchestral, so this time I wanted to go in the opposite direction: something simpler, more immediate, yet still structured and coherent, with every track following a strict 4/4 pulse and a clear design.

2. This is quite a huge project for you, what does it mean to you as an individual?

For me, it’s a return to my roots, to my lifelong and almost obsessive passion for electronic music. It’s where everything started for me: programming sounds, building patterns, exploring rhythm and texture. This album reconnects me with that original fascination, but through the perspective of everything I’ve learned along the way.

3. Could you describe how this release is different from your previous work and where this one belongs in the sequence of your career?

My previous release, “The Inscrutable Judgment of the Aenigmatic Observer”, was orchestral and highly conceptual, almost a soundtrack for an imaginary short film.

“Into the Pattern Zone” is the other side of that coin: fully electronic, direct, built around rhythm and repetition, with each track standing on its own.

4. What do you wish people to get from “Into the pattern Zone”?

I just want people to enjoy about 35 minutes of sound that makes their foot tap almost without even realizing it.

5. Is there a particular song other than this one, you are keen on that seems to communicate your message best and why?

Yes. “Paula is Dead”. Because it combines the millisecond-quantized time grid and a touch of dithering reminiscent of Amiga trackers with the sound of the Commodore 64, which actually takes part in some sections. The title itself is a cross-reference, a sort of digital inside joke connecting vintage hardware, music history, and myth.

6. What are some of the difficulties you encountered and some of the highlights in “Into the pattern Zone” making process?

The main difficulties came from the sudden crashes of GarageBand on iPad and some annoying bugs in the Audio Unit extensions. As for the fun highlights, I’d say recording filter sweeps and X–Y pad movements on the touchscreen, almost like being a DJ for a moment. My current workflow is hybrid: the backbone of each song starts with about 10-12 tracks created in Renoise, a tracker for PC that builds patterns vertically. Then I export everything to GarageBand, moving to the more traditional piano roll environment, where I use a large set of Audio Units, mostly by Korg. It’s a mix of old-school sequencing and modern production tools that keeps things exciting.

7. How do you see this project fitting in with the present stage of your life both as an individual and an artist?

At this stage of my life, I felt the need to simplify things, to focus on clarity, balance, and instinct rather than complexity.

8. Since you released a “Into the pattern Zone”, what has the reaction of the fans been?

I was pleasantly surprised by the reactions to “Autonomous Code” as a preview. Listeners perfectly caught that “hit the road” mood I wanted to convey. Before the official release, I played it several times while driving on a long highway trip, and everything fell into the right place: the speed, the darkness inside tunnels, some unlit and others flickering under pulsing neon lights, the sunset slowly fading into night. It’s nature and human life turned digital. I deliberately used powerful kick and snare sounds, blending them together to create what I like to call a kind of synth metal.

9. How can your fans reach you and your music whether through the internet or in person?

Besides SoundCloud and Spotify, a large part of my ’90s music production can still be found on The Mod Archive, in what might now be considered somewhat unusual formats: .mod and .xm files.

10. Where does this release sit in the thick of those works in loads and loads of other work?

I’d say it sits near the top, since I spent countless hours refining the EQ and mastering, a field where I’ve always considered myself kind of a beginner.

11. What’s next for you after this release? Are there any new projects or surprises that are coming soon?

I think I’ll return to orchestral music for my next project.

12. How do you cope with the responsibilities of being an artist while trying to have a personal life?

Since my full-time job is in the IT field, the only way I can handle both while hoping to keep a decent quality level in my releases is by composing at night.

13. What is one thing that your fans do not know about you but would want to reveal?

Probably that I’m not only an electronic music nerd, but also a heavy metal singer. It’s a strange mix, but somehow it works.

14. Would you like to add any concluding thoughts to your fans or new listeners hearing about you for the first time?

I just want to thank everyone who takes the time to listen. Music connects us in ways words can’t, and if even one track of mine leaves a trace, that’s all I could ever hope for.

In Summary

This has been an exciting session for us all Stefano Palmonari, I believe fans and anyone out there just discovering your music for the first time are equally excited about this project. Thank you for the privilege to experience this masterpiece, it’s been an honor.

Here is my thought on what i have to say after listening to “Into the Pattern Zone”:

“Into the Pattern Zone” is an instrumental EDM album that fuses retro inspiration with modern precision. It’s a meticulously crafted work where structure and emotion coexist, offering an immersive listening experience that feels both mechanical and alive. The album flows seamlessly from track to track, creating a coherent sonic narrative built on layered synthesizers, intricate rhythms, and evolving textures. Every composition unfolds with purpose, revealing new details with each listen. As a whole, “Into the Pattern Zone” stands out as a thoughtful, finely tuned exploration of electronic sound, an album that transforms digital logic into a deeply human, emotionally resonant experience.

Finally to our audience, I urge to listen to “Into the Pattern Zone“, add it to your playlist and be Inspired by it and on behalf of Dulaxi I like to appreciate you all by saying thank you everyone, See you on our next interview.