Lorenzo Morresi’s new Nonsense EP is a full-body reset. It’s loose, percussive, and playful in all the right ways—drawing from funk, samba, and Italian synth heritage without trying to explain too much. The four tracks are wildly different in energy but deeply connected in their groove.
From the cheeky rhythm exercise behind “Tucu Taca” to the distorted industrial punch of “Giungla,” it’s the kind of record that feels like it was made with the monitors turned up loud and the rules thrown out.
Released on his own label Minus Me Plus World, Nonsense is grounded in spontaneity—but it didn’t come from burnout or chaos. In this conversation, Lorenzo shares how he’s built a relationship with music that allows him to pivot between sessions and silence without guilt, pressure, or overthinking.
It’s a mindset that doesn’t chase productivity but ends up making space for better, faster work in the long run.
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How do you recognize when it’s time to step back from output and focus on input or rest?
It’s never easy to find a balance, but I would say—since I’m producing quite a lot of music—I always take a little break from creating when a release is out. Once a release is in the market, what happens is out of your control.
That’s when I feel a kind of peace.
I can mentally relax, walk while listening to new music, or enjoy silence.
Over time, I’ve realized that resting your mind might move your musical path forward even more than working can.
What helps you avoid guilt during periods where you’re not actively creating?
Working with music is a gift—and also my job. So when I’m not creating something for myself, I’m usually mixing or producing for others. That balance makes me feel okay with the time off. I dedicate a lot of energy to making new music, so I’ve never really struggled with guilt during those moments.
How do you make space for listening, learning, or silence without losing momentum?
I used to spend 14 hours a day in the studio. Now I try to work faster—not to rush, but to preserve energy.
Once you’ve learned how to move through a session, you can do things quickly without losing quality. It keeps the momentum alive, especially when you’re collaborating with others. I’ve found that freedom to experiment—without treating it like a job—keeps me curious and energized.
Have you ever hurt your progress by forcing work when your head wasn’t in it?
Early on, I’d spend weeks stuck on a single track, trying to perfect it. But the more I tweaked, the more energy I lost.
Now I don’t force it anymore. I don’t give myself deadlines with my solo work. If it doesn’t click, I wait. Interesting ideas tend to come quickly when I’m aligned with myself—and it’s even better when I’m collaborating.
What signals tell you it’s time to shift your creative pace—faster or slower?
It depends on the project. If I’m working with live instruments or singers, I usually slow down and let it unfold. There are days where nothing works and you just have to accept it.
That time isn’t wasted.
With production work, where my role is more rational and focused on someone else’s music, I can work faster—but even then, if it doesn’t click, I’ll stop and pick it up the next day.
Do you plan for those shifts, or do they happen naturally?
It’s a mix. Sometimes I’ll spend three sessions on a single part—like when I recorded an Arabic loutar for a track called “Odissey Venezia.”
Other times, especially with electronic setups, it all comes together in one 10-minute take. Once the gear is patched and the mood is clear, it flows. Making music is about managing a chain of factors—some technical, some subconscious.
What would you tell someone who thinks they need to be “on” all the time to grow?
Everyone’s path is different. It depends on your goals and the type of music you want to make.
Do you want to create like Prince, or just assemble loops? Either approach can work. But the kind of impact you want to leave determines how you show up—and how often you need to.
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Lorenzo Morresi’s Nonsense EP is out now on his new label Minus Me Plus World.
Listen on Bandcamp
Will Vance is a professional music producer who has been involved in the industry for the better part of a decade and has been the managing editor at Magnetic Magazine since mid-2022. In that time period, he has published thousands of articles on music production, industry think pieces and educational articles about the music industry. Over the last decade as a professional music producer, Will Vance has also ran multiple successful and highly respected record labels in the industry, including Where The Heart Is Records as well as having launched a new label with a focus on community through Magnetic Magazine. When not running these labels or producing his own music, Vance is likely writing for other top industry sites like Waves or the Hyperbits Masterclass or working on his upcoming book on mindfulness in music production. On the rare chance he's not thinking about music production, he's probably running a game of Dungeons and Dragons with his friends which he has been the dungeon master for for many years.
