Luca Venezia has spent over a decade carving out a singular space in electronic music, one foot planted firmly in post-punk’s moody introspection, the other stomping through the euphoric chaos of ’90s rave culture.
With his Curses project, he’s explored the darker, more band-oriented side of the dancefloor, but his latest release under the Tutto Vetro alias strips things back to pure club energy. ‘Trust The Beat,’ which came out on December 5th, is a love letter to the late ’80s and early ’90s sounds that shaped underground dance music across NYC, Valencia, Frankfurt, and Detroit – a deliberately focused dive into the records that have always anchored his DJ sets.
In this interview, Luca reflects on the creative impulse behind Tutto Vetro, the gear that defines his sound, and why consistency matters more than chasing trends. He also opens up about scoring for Saint Laurent, navigating AI in music production, and what’s next as he gears up for Next Wave Acid Punx TROIS and a packed 2026 focused entirely on club-ready energy.
1. ‘Trust The Beat’ just dropped on December 5th under your Tutto Vetro alias. What was the creative spark behind this project and what differentiates it from Curses?
After touring the Curses (live), and focusing on the last album- which is more band oriented, I wanted to return to more of the club side of Curses. Tutto Vetro is a dive into the late 80’s and early 90’s electronic sounds of NYC (Razormaid, MCL etc) Valencia (Interfront, Megabeat), Frankfurt (BOY Records, Technordrome International, and Detroit (Drexciya, Saunderson, UR etc). Basically the music that I always incorporate into DJ sets, allowing me to slowly differentiate between the post punk and new wave songs as Curses and the more dancier club music.
2. You specifically reference Valencia alongside Frankfurt and NYC as key cities for this sound. What is it about Valencia’s scene from that era that resonates with you, and do you have a special connection to the city?
I love that this moment in time was very brief, and the bridge between many countries was uniting all different styles and people. Similar to the tiny but impactful ‘New Beat’ sound in Belgium. I tend to play in Spain a lot, so I definitely connect with the Spanish people and sound, but not valencia only.
3. The EP moves from the slamming ‘Trust The Beat’ through the infectious ‘Wild Things’ to the anthemic ‘New Revolution.’ Can you walk us through the creative process behind these three tracks, how and where they came together?
Taking that Hacienda energy back to the now I guess. Euphoric but still heavy to dance to.
4. What does your studio look like these days? Are there specific pieces of gear or instruments that were essential in creating the Tutto Vetro sound, and has your setup evolved significantly over the years?
I ams till very attached to the kawai r-50 and the dr. 660 drum machines. These will always be a staple in my sound, whether as Tutto Vetro or Curses. What differs, is I am not incorporating guitars or vocals, and the synths do the talking.
5. With AI increasingly entering music production and even performance, what’s your take on its role in electronic music?
Things are always evolving. Instead of being afraid, find out how it can help you. Music made fully with AI sounds like garbage, but analyzing a frequency that is muddying up a mix with AI, why not?
6. Thinking back to your early days, what drew you to electronic music initially, and do you remember the moment you realized you wanted to pursue this professionally?
Growing up in NYC, i would go to raves as a teenager. I think that says it all.
7. You’re based in Berlin, a city with an incredibly dense and diverse electronic music community. How has the local scene influenced your work, and what makes it uniquely inspiring or challenging as a creative home base?
The community is very supporting and collaborative in Berlin. At least with the scenes I circle. I decided to move here from NYC over a decade ago, because of the music scene itself. I felt inspired and able to make what I love with sacrifice.
8. You’ve released albums for a fashion house, Saint Laurent. How did that partnership come about, how much creative freedom did you have, and what’s your take on the connection between fashion and underground music?
I released an album on Dischi, and they did a super limited edition version for their Paris and LA shops. Blood red vinyl, was super cool. I have done a few scores as well for some Fashion videos and shows, it can be hard work, but when it clicks its nice to hear underground music get its shine.
9. For producers and DJs trying to break through in today’s saturated scene, what advice would you give? What worked for you, and what do you see working for emerging artists now?
Just keep doing what you love, and that will become contagious. Don’t jump on the bandwagon and change paths to something completely different, because trends come and go and consistency is key. Just keep going, and never lose focus.
10. With ‘Trust The Beat’ just released, what are your plans for 2026? Are there any projects, collaborations, or creative directions you’re particularly excited about?
Next Wave Acid Punx TROIS will be dropping in May, with a lot of the energy channeled in “Trust the Beat’. New and music from In Trance 95, Digitalism, Kendal & Andi, Charlie, Dina Summer, L.F.T, Josh Ludlow and many many more. I also have an EP with Belgian label, Altered Circuits as well as a bunch of remixes. The Next Curses album is due in 2027, so 2026 is all about returning to the club energy.