Hiya Ron Morven, thanks for joining us in the virtual RGM lounge today. Grab a brew and take a seat.
Thank you for having me. It is a pleasure to be here and to share a little more about the world behind my music.
For me, an interview is also a way to let people enter not only a song, but an atmosphere, an image, a scene.
Thanks for joining us today. Tell us a bit about where you are from and how you got into music.
I am from Italy, but professionally I often move between Italy and Los Angeles. That dimension is very much part of my creative life, both in music and in my work as an author.
For me, music and writing are two parallel languages. I do not see music as something that came after writing, or as a side path. It is a central part of my creative identity, just as important as storytelling.
They are two different ways of telling stories. Through writing, I work with characters, images, tension, and narrative worlds. Through music, I try to express those same intensities through melody, rhythm, atmosphere, voice, and movement.
Ron Morven is the pseudonym I chose for my musical work. I publish my books under my own name, while for music I wanted to create a distinct identity, one that could represent this sonic and visual universe in a more immediate and open way.
Electronic music gives me the space to bring together energy, emotion, and imagination. I am interested in that point where a song can be danceable, but also cinematic, personal, and recognizable.
What’s the live music scene like between Italy and Los Angeles right now?
Because I spend time between Italy and Los Angeles, my relationship with the music scene is quite broad. Italy has a deep melodic tradition and a very strong emotional sensitivity, while Los Angeles is a place where music, film, image, and industry are constantly crossing paths.
That double perspective is very important to me. On one side, there is a European origin, more connected to melody, atmosphere, and a certain emotional elegance. On the other, there is a highly competitive international environment where every detail, from the sound to the video, from communication to the live presence, needs to be approached with real professionalism.
For a project like Ron Morven, that combination matters. I do not feel tied to only one local scene. I am interested in building a language that starts from a personal identity, but can speak to an international audience.
Anyone we should be looking out for, apart from you of course?
There are many interesting artists trying to bring electronic music and pop into a more international space. But I also think it is becoming harder to talk only in terms of one city or one local scene.
Music moves in a much more fluid way now. An artist can come from Italy, work with British, French, American, Scandinavian, or Asian references, and reach a global audience without belonging to only one place.
What I always pay attention to are artists who are not simply following a trend, but are trying to build a recognizable signature.
Do you think it’s easy to become a victim of our surroundings sometimes?
Yes, absolutely. Your surroundings can shape you more than you realize. People, expectations, cultural limits, and the way a scene defines what is possible or acceptable can all influence an artist.
But I think the key is to turn your environment into creative material, not into a cage. Sometimes even feeling out of place can become a strength. It forces you to define your identity more clearly.
In my case, I try not to let myself be closed inside one label. Ron Morven comes from the desire to create something with personal roots, but with an international breath.
What are your ambitions for Ron Morven?
The ambition is to build a strong, coherent, and recognizable catalog. Ron Morven is not just an artist name. It is a creative identity that runs parallel to my work as an author.
I chose to separate the two names because music and writing have different languages, different audiences, and different imaginary worlds, even if they come from the same deeper need: to tell something with atmosphere, emotion, and identity.
With Ron Morven, I want to create music with a strong melodic imprint, a clear visual sense, and an international dimension. Emotional, elegant, energetic music that can live in streaming and radio, but also in videos, live sets, clubs, and audiovisual contexts.
My goal is to develop a project that becomes more recognizable over time, not something tied to only one release. Every track should add another piece to a wider world.
What’s your favourite social media platform to use and why?
Instagram is probably the most natural platform for my visual world. It allows me to bring together music, imagery, photography, video, artwork, and storytelling without having to explain too much.
That said, YouTube is essential because it gives depth to the project. An official video, a visualizer, or a carefully built piece of content can say much more than a single post.
TikTok has a different language, more immediate and direct. It is not always simple to translate a very atmospheric project into that rhythm, but it is an important platform because it forces you to communicate the essence of a track in just a few seconds.
We believe it’s essential to have a presence on Facebook, Instagram and X to introduce yourself to all the different types of audiences out there. What are your thoughts on that?
I agree, as long as each platform is used intelligently. I do not believe in simply copying the same content everywhere without adapting it.
Instagram can show the aesthetic and identity of the project. Facebook can still work well for a broader audience and for more informative content. X is more direct, faster, and more connected to conversation and updates.
For an artist today, digital presence is part of the project. It does not replace the music, but it can amplify the world around it.
What’s your view on the music industry today?
It is a complex, extremely fast, and very crowded industry. On one hand, it is easier than ever to release music. On the other, it is much harder to truly be heard.
I think the challenge is not simply putting out a track, but building a credible perception around the music. You need quality, identity, strategy, consistency, and a strong attention to detail.
The positive side is that artists can have more control over their path today. But that also means more responsibility. It is not enough to have a good song. You need to know how to build a world around that song.
What are your thoughts on AI generated music?
I think artificial intelligence is a powerful tool, but it should not replace artistic vision. It can help with production, experimentation, writing, sound design, or workflow, but human taste remains essential.
The difference is always creative direction. A song can be technically perfect and still say nothing. Another song can have a small imperfection and still transmit something real.
I do not think the future is humans versus AI. I think it will be about artists who are able to use new tools without losing identity, emotion, and artistic responsibility.
What’s the biggest thing you have learned recently as you progress with your music?
I have learned how much identity matters. You can have a good production, a good mix, and a strong chorus, but if the listener cannot recognize something that belongs to you, the song risks disappearing.
I am giving more and more importance to memorable elements: a hook that arrives quickly, a recognizable melody, a distinctive sound, a precise image.
Music today needs to be immediate, but not superficial. That is the most interesting challenge.
What’s currently in your ears and on rotation at the moment?
I listen to a lot of melodic electronic music, dance-pop, alternative pop, and productions with a strong atmospheric quality. I am drawn to artists who can bring together energy and melancholy, rhythm and image.
I like songs that have a clear signature from the first few seconds. Those records where a few notes are enough to recognize the artist’s world.
I also listen to music outside my own lane, because the best ideas often come from unexpected places: film scores, older pop productions, French music, British sounds, and more cinematic textures.
What was your worst experience on stage? Any funny stories to share?
The most stressful moments are often technical rather than dramatic. A monitor that does not respond, a file that needs to be checked at the last second, a timing issue, a version that has to be delivered or fixed faster than expected.
What is funny is that from the outside, those moments can look completely calm. Inside, you are dealing with a small earthquake. Outside, everything still needs to feel smooth.
I think professionalism is also that: not making the problem bigger than the performance, keeping the energy, and turning the unexpected into part of the process.
Got any fun, funny stories from life on the road?
What makes me smile is the contrast inside creative life. One moment you are working on something very elegant, cinematic, and carefully controlled. The next moment you are traveling, running on too little sleep, holding a coffee, checking files, links, artwork, mixes, messages, and deadlines all at once.
There is a romantic side to music, of course, but also a very practical, almost handcrafted side. Versions, uploads, exports, videos, emails, metadata, and last-minute details.
Sometimes the most rock and roll thing today is simply managing to deliver everything correctly, on time, and in the right format.
I hear you have new music. What can you tell us about it?
The new track is Paper Sun. It brings together electronic energy, emotional atmosphere, and a very visual sense of storytelling.
I like the title because it contains a contradiction. The sun is something huge, warm, almost eternal. Paper is fragile, light, something that can burn or tear. That image carries a lot of the track: light, memory, pressure, fragility, and movement.
I wanted to create a song that was accessible and melodic, but not cold. A track with a dance dimension, but also with a strong cinematic identity.
What was the recording process like?
The process was focused on building the right atmosphere. It was important for me that the track had a recognizable identity from the beginning, not just a standard dance build.
We worked a lot on the relationship between melody, voice, groove, and space. The vocal had to feel close, present, almost narrative, while the production needed to open progressively without becoming too aggressive.
I pay a lot of attention to the low end, the clarity of the vocal, and the overall feeling of the mix. I am interested in a production that feels elegant, not crushed, and can work both for radio and streaming.
Would you change anything now it’s finished?
Every time you finish a track, you could theoretically keep changing details forever. That is part of the creative process. At a certain point, though, you have to understand when a song has found its shape.
With Paper Sun, I would not change its identity. Of course, every release teaches you something for the next one, but I also think it is important to respect the moment in which a song was born.
A song does not have to be perfect in an abstract way. It has to be true to the world it wants to create.
Is there anything else you would like to share with the world?
I would simply invite listeners to enter the project without rushing. Ron Morven is not only a single song. It is a world in development, made of sound, images, movement, and memory.
Paper Sun is an important doorway into that world. It has light, rhythm, and a kind of elegant melancholy that represents the direction I am following.
I hope listeners can find something personal in it: a memory, a journey, a scene, or simply the desire to press play again.
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