An electric guitar string is plucked. Deep delay fills the room. Jimmy sits with his guitar strapped on, gazing towards a gently humming amplifier.
Jimmy, we have heard from Paul and Joe. Now it is your turn. You give Volcren its ‘nerve’ and ‘emotional space’. How would you define your sound?
(He picks a harmonic arpeggio.) My sound is constant tension. I am not here simply to make noise, but to create a texture around Paul’s words. As our Suno Bible says, Volcren’s guitar is atmospheric, built from abrasive riffs and textures stretched out by delay. In Shadows & Reveries I was more instinctive, but with Different Ways and Piatti Forti things changed: my guitar became warmer, more lyrical and evocative.
The Volcren project often talks about a dialogue between people and machines. How do you experience working with Suno AI?
It is a real-time dialogue between my soul and the algorithm. Paolo Righini doesn’t leave everything for the machine to invent. He records real guitar riffs—original melodic lines that are the song’s true sonic DNA. I send that ‘seed’ into the system and Suno turns it into a complete arrangement, but the core, the rhythmic nerve, stays human. We use a specific technique: upload the riff and set Audio Influence between 55 and 65, so my identity remains recognisable while being reinterpreted through the ‘digital vision’.
Which technical elements make your guitar sound so distinctly Volcren?
We always try to avoid the generic. Our signature sound uses atmospheric electric guitars with long delays, but also dry rhythm guitars to drive the beat. In Lies the riffs need an ironic, blues-rock quality; in Luna the guitar needs to be dense and luminous. The golden rule in our Bible is that guitar must be more than decoration. It must be an emotional fingerprint.
Is there a development in the recent work that feels particularly yours?
Absolutely. With Different Ways we made a real creative advance. It is no longer just ‘poetic suggestions’, but structured melodies directing the machine. In Piatti Forti we showed that electric guitar can merge with digital experimentation without losing its ‘sweat’. I bring the scars and the noise; the machine builds the walls of sound.
Jimmy, one last thought on your role in Archemondo?
(He plays a dirty, distorted riff.) My strings are like the asphalt roads Paolo describes: surfaces reflecting light and shadow. If Paul is the voice and Joe is the heartbeat, I am the wind of passion crossing the road. I am here to remind you that even in a world dominated by code, we still need a string vibrating beneath a human finger. (He strikes a final chord that slowly fades into a bed of synths.) The war is over, but the melody has only just begun.
English translation of the official Volcren interview.
Read the original interviews in Italian (PDF) ↗