When he was twelve, his mother gifted him a guitar, that turned Luciano shortly into a mem-ber of a school punk rock band. soon after, his passion for electronic music rose. Infected by detroit techno and engaged by close friends like producer Dandy Jack, he started to play rec-ords in local Santiago de Chile dance clubs and became involved in the minimal techno scene around friends like Ricardo Villalobos.

When Luciano moved back from chile to switzerland in 2000, he established a residency at Weetamix club in Geneva, started releasing his own productions on labels like Mental Groove and joining the Cocoon team in Ibiza to play at the famous monday night at club Amnesia. Since then he is a regular on the balearic island, holding residencies at clubs like dc10 or, with his “vagabundos” serial, at Ushuaïa. Besides playing around the globe with the likes of Carl Craig, Richie Hawtin or Loco Dice, he is releasing groundbreaking minimal techno and house on his label Cadenza since 2003, featuring music by artists like NSI, Ricardo Villalobos, Pikaya, Reboot, Maayan Nidam and himself.

His very own music, so far issued on three albums and countless eps, was always ambiguous. there is his club leaning creativity that can dance slightly into pop spheres while never for-getting the power of precise sliced rhythms and subtle bass sensations. And then there is a calmer Luciano, that displays his love for “music to listen at home, done for a spiritual travel, an inner universe and a moment paralyzed in ether”, as he describes it.

On his first ever Mule Musiq album release Luci Neu House, Luciano now delivers meditative journey music full of repetitive patterns that slowly playing tricks on the listeners subcon-sciousness.

“I love music that has a dimension more than music designed for the radio or tv format. mu-sic, that is designed to bring you a higher level of energy and creativity. So, there is no pretentious things in it … more just sounds and dimension that will lead your head into the fall of jupiter” he reveals about the one-hour long composition Luci Neu House, whose esoteric deepness reminds on the intensely meditative class of his older pro-ductions like Behind My Soul from 2010.

An epic tune cut on vinyl into four 15-minute long pieces, who shift slowly, almost unper-ceived, whilst absorbing the mind of close observers into a micro-sliced world of moving gen-tleness.

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His musical set phrase isn’t new or special as he is often simply melting shuffling percussions with elementary melodies. But he does it in a sense that the heavy used and abused phrase “deepness” finally gets a fresh truthfully new meaning. You can call his house music journey music, music to travel. Sometimes it is an introspective and meditative journey sometimes an inspirational and lively one. It always stays visionary while using simple codes to transform his inner voice into rhythms and melodies.
For the latter he now produced an album under the moniker of Fp-oner that is listening to simply title 5. Why it does so the man from nyc borough queens explains in the liner notes by himself. it is the start of a new trilogy that will lean more to the jazzier, relaxed and atmospherically side of his artistically deep house expressions.

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This time, instead of drum machines and sequencers on a stage of a club, both artists by sheer coincidence found themselves confronted and intrigued by a completely different set of instruments: two pianos (a midi- and an acoustic one) that were standing in a tiny lobby of a hotel in niigata – Japan (the Grand Blue Hotel). The beauty of Grand Blue may lay in the total lack of intention, musical concept and, related to that, stereotypes!

In other words, Grand Blue is a truly naïve, spontaneous and direct recording. It was neither driven by fulfilling a musical plan, a marketing concept nor by the egos of two artists firing at each other with the sophisticated knowledge of complex chord progressions. In fact, the lack of all that, and the resulting passages of fragile, drifting musical code make Grand Blue such a unique and emotional piece of work.

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This time on non of the tracks DJ Jus-Ed disclaimed his voice that regulary enriches some of his productions and his DJ sets with a personal, human touch. Instead only instrumental tracks are kicking a blend of tough, syncopated percussions and ethereal, melodic synthlines that spread pure dance energy. Whipping handclaps here, dark string looped atmospheres, minimal piano melodies and euphoric hi-hats there, and a warm seducing bassline underneath: the formula of the live wire that still throws some of New York’s finest underground house parties regularly is simple and effective.

Some of the tracks are already produced in 2006. Others like Stuck in a train to Berlin or Train Ride to Offenbach he composed in the last years while traveling through Europe to play in such clubs like the infamous Robert Johnson in Offenbach. “The concept of the album is what I see when I play my tracks out on tour” the friendly family man confesses about Vision Dance and adds: “I also made this album for dancers and club heads!” And this no matter if it is in front of your little home stereo or underneath the turning mirror ball: his string of pure house showbags is just made to get your butt in gear.

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