Sonic Sorcerer Panoram SHARES "What It Means" Single + Exclusive Interview

Stream/ Download: Spotify – Apple Music

“Since 2014 [Panoram] has developed an idiosyncratic signature by cobbling together various styles—IDM, library music, classical minimalism—into a loose, low-key vibe where kitsch mingles with the sublime and whimsy tickles awe’s funny bone.” – Pitchfork

“Miles Davis and Dam Funk’s love child in a space suit, or Sun Ra after a full season in Ibiza ’88.” – Vinyl Factory

[On “What It Means”]: “The track blends elements of IDM, classical minimalism, and library music into an atmospheric experience.” – Electronic Groove

Synth savant Panoram has shared an irreverent track titled “What It Means,” out on his Wandering Eye imprint. The track was featured on the iconic Electronic Groove. Boasting over a million streams across platforms, Panoram has endeared himself to the global IDM community over the last decade for his off-kilter compositions. He has caught the attention of tastemaker publications like Pitchfork, Rumore Magazine, The Ransom Note, and The Vinyl Factory and has recorded multiple times for NTS and Boiler Room. He has appeared alongside the likes of Kraftwerk and Gold Panda at Sònar Festival in Barcelona. Notably, Thom Yorke included a track from Panoram’s album Pianosequenza Vol.1 in a playlist he curated for Sonos.

Hailing from and based in Rome, little else is known of Raffaele Martirani, the mysterious maverick behind Panoram. He has been part of the project Amen Dunes for the past decade, touring extensively across the U.S. and Europe with the band, performing at renowned venues and festivals like Primavera Sound, Pitchfork Festival, Roskilde, KOKO in London, and The Teragram Ballroom in Los Angeles.

Under the Panoram alias, he has released on labels like Firecracker, Running Back, and his own Wandering Eye that nimbly elude genre classification, dancing playfully in their own synth-soaked ecosystem. His discography is a quietly-growing collection of his eclectic experiments laden with a smorgasbord of stylistic etchings – you’ll find abstract pop, classical experiments, hazy lounge, detuned synths, cyborg funk and so much more. Whatever you hear, it resists categorisation, and will probably be a labyrinthine listen with a hint of impish self-awareness. “What It Means” will ensnare fans of IDM luminaries like Squarepusher and Aphex Twin, as well those who enjoy slower synthwave of the ilk of Vangelis.

“What It Means” is a bewildered and brooding daydream. A noodly arpeggio weaves its way in and out of filters around a lazy, shuffling beat, stringing the listener along a floating cloud of sonic bubbles. Bland vocal samples that sound like AI-generated map guides hover around the listener throughout the song, meandering through the layers of synths, with the refrain “On the other hand, I don’t always understand what it means” driving home the song’s gentle yet foreboding nature. Equal parts cerebral and playful, and entirely captivating, “What It Means” beckons listeners to empty their minds, but keep their helmets firmly fastened.

Panoram divulged: “I was sharing a rehearsal space in Brooklyn when I recorded this one. It’s quite a trippy, demented track. I remember being mesmerized by the sound of that bass synth for a couple of days. It felt like it was a good sound for a part with some sort of uncertain vibe. Drums and words came later on. I wanted the dullness of the vocals to be kind of chasing you throughout the song. I like to play with found vocals a lot and create some sort of cognitive dissonance with the music as if sounds and words are coming from separate places.”

Before “What It Means” dropped, I hadn’t heard of Panoram or his label, Wandering Eye. But after one listen, I went down a deep rabbit hole, discovering a world where IDM, classical minimalism, and library music blend into something both playful and deep. His offbeat sound has drawn fans from all over, earning shoutouts from Pitchfork, The Vinyl Factory, and Electronic Groove, along with a nod from Thom Yorke himself. From Boiler Room sets to touring with Amen Dunes, Panoram has quietly built a mesmerizing and genre-defying catalog. I had a great time chatting with him about his new release, his creative process, and the sonic world he’s crafting. So without further ado, let’s dive in and meet Panoram!

You’ve built a reputation for blending genres like IDM, classical minimalism, and library music. What initially drew you to these styles?
I am not sure what did… I never thought about going one direction or another, so it always sounds kind of funny to me when I read these things about my music. The point for me is to convey a certain color or a certain feeling to my music and that transcends styles. What always interested me in music is what this medium can deliver on an abstract level, what hides behind the surface is way more fascinating to me.

Your music resists categorization and thrives on eclectic experimentation. How do you decide which direction to take with each release?
Nothing is really decided. I think I am there to channel things that are beyond my comprehension. My technical skills are poor, and I’ve always feared about learning too much about it. I don’t want to be in control but there’s still a part of me that is always trying and trying to be the there and be decisive but that’s kind of part of the process. You need to go through a fase where you think you are doing it but it’s never really it. I have faith in this sort of supernatural thing to take over at some point and make magic happens. You need time for that, and you always need to be vigilant to realize when that happens.

Having toured extensively across the U.S. and Europe while hailing from Rome, and spending a decade as part of Amen Dunes, how have these international experiences and collaborations shaped your sound and influenced your solo work as Panoram?
I basically had to quit my music for two years to play live in Amen Dunes. Me and Damon had worked together on his album Freedom for a couple of years and when the record was about to be released, he asked me to be part of the band. We played 100 shows in a little more than one year and a half and that meant I had zero time for Panoram. I was in a band for the first time, and it was strange. I was fascinated by being around straightforward musicians though. I left Europe and left my music to do it. that was strange for me. It was a little bit like a weird dream, I got to meet people like Angelo Badalamenti and David Chapelle while in the States and at the time I was signing this deal with a New York label called Mexican Summer, so I was trying in the spare time to make an album, but I didn’t work out at the end. Still when we finished touring, I had like a year off, I was very tired from being on the road. When I got my mind back to Panoram I realized that I have changed. I think I came to hate guitars and amps and soundcheck and I missed being in this mental zone. That’s when I recorded Pianosequenza Vol.1 in Los Angeles before moving back to Europe. I was trying to write that material in the least musical way possible by working one hour a day in a cafeteria on my laptop and that’s when I started liking this thing of being kind of drifting away artistically, just leaning on this strange urge to make something very personal again.

Your music has been featured by Pitchfork, Vinyl Factory, and even selected by Thom Yorke for a Sonos playlist. What does that kind of recognition mean to you? Are you actively seeking this type of exposure, or does it naturally come to you based on the music you’re creating?
No, I am not really seeking that, and it always feels funny when things like that happen.

Can you share the inspiration behind “What It Means?” What were you trying to convey with this release?
I was playing with this idea of having a track that was like a dance track with flat spoken vocals on top, almost like the two things were separated.

You described the track as “trippy” and “demented.” What was going through your mind during its creation?
Yes, it’s about the vocals rubbing against the synth part. I think the fact that the brassy bass synth is somewhat unruly, while the vocals are so tempered, creates a really suspended vibe.

The track incorporates AI-like vocal samples. What inspired you to use that element, and how do you feel it contributes to the song’s overall atmosphere?
I think they are very important, that was years before the big AI outburst. I’ve always been in love with speech synthesis.

You mentioned being mesmerized by the bass synth for days. How important is sound design in your creative process?
Well, I wouldn’t call it sound design… For me, it’s more like placing colors next to each other. I like trying different sounds for the same parts. It’s like auditioning actors in a way or doing interior design.

The song feels both cerebral and playful. Do you consciously try to balance these elements, or is it an organic outcome of your approach?
I think I like having both worlds coexist.

Your discography spans from abstract pop to cyborg funk. What excites you most about experimenting with such a wide sonic palette?
I like the idea of music or art in general working like a pair of goggles that can alter everything we normally experience. I don’t pay attention to genres when I make my music because I know that everything gets filtered under my own lenses and becomes something else. I like changing attitude to keep things interesting for me.

Do you see a common thread that ties all your work together, despite its stylistic diversity?
Yes, I think there’s a certain feeling that ties everything together. I’m not sure what it is. My friend Adam once said that all my music sounds somewhat sad. I don’t know if he’s right, but I do believe that art should be, in some way, unsettling or even scary at times. That’s usually what I’m looking for.

You’ve released music on labels like Firecracker, Running Back, and your own Wandering Eye. What led you to start your own imprint?
It was the music of Ando Laj, he’s an amazing Canadian artist. When I heard his music, I knew it was the right time to start the label.

How do your live performances influence your studio work, and vice versa?
I literally prepare a different live set each time I play live and usually I end up with one new track that just pops out preparing a show.

You’ve recorded multiple times for NTS and Boiler Room. How do you see platforms like these shaping the electronic music landscape?
I played for Boiler Room and NTS a few times and when I lived in London, I remember the vibe of the people working there was kind of nice at times. About the shaping part I don’t really know…

Your artwork matches your sound perfectly! Are you working with the same artist on all these designs to keep your brand message consistent?
Thank you, I always have these ideas, and I am lucky enough to have amazing visual artists around me that help me realize what I have in mind. I am a want to be visual artist.

Your music has been compared to everyone from Sun Ra to Dam Funk. Who are your biggest musical inspirations?
Wow, I don’t know… I would say I like music, but I don’t find it particularly inspirational. I don’t want to create music that talks about other music because I think that’s very boring.

With over a million streams, you’ve built a dedicated audience. How do you engage with your listeners, and does their reception influence your work?
I don’t have an open channel with the audience. I think everything should be kept quite private, the process you know. I think explaining art is the worst thing you can do.

What’s next for Panoram? Are there any upcoming projects or collaborations we should look out for?
I am releasing a new volume of my Pianosequenza series soon. Its music made only with automated pianos.

Thanks so much for doing this! I had a great time, and this was a lot of fun. In all of my interviews, I always give the artist the last word. Go.
Machines were mice and men were lions once upon a time. But now that it’s the opposite, it’s twice upon a time.