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How Simone Zino Translated Milanese Underground Grooves to Detroit’s Legendary KMS Records

Milanese producer Simone Zino is cementing his status as a heavyweight in the contemporary techno circuit this March 2026, dropping his highly anticipated Back To The Old School EP on Kevin Saunderson’s legendary KMS Records. Fresh off a Beatport #1 chart-topper with “Signals” and a massive 2025 that saw him tear through Joseph Capriati’s Metamorfosi at ADE and join the prestigious Tempo Management roster, Simone Zino is bridging the gap between his classical roots and peak-time dancefloor artillery.

For an artist with nearly two decades in the trenches – Simone Zino is cutting his teeth with a 2008 residency at Bolgia and sharing stages with titans like Len Faki, Nina Kraviz, and Chris Liebing – cracking the code to a Detroit legacy label required looking inward. Rather than adopting an artificial persona, Zino leaned heavily into the stripped-down, hypnotic tension that defines his native scene.

“Growing up in the Milan underground shaped my approach to techno a lot,” Zino explains. “Over the years I developed a language focused on groove, raw drums and a balance between energy and soul. That connection between machine-driven rhythms and human feeling is something that always fascinated me in Detroit techno. When I started refining that approach in my productions, the connection with KMS felt very natural.”

Following up a massive #1 hit can paralyze a producer, especially when the next release is stamped with the KMS logo. Yet Zino bypassed the anxiety of the sophomore slump by isolating himself from industry noise.

“Honestly I didn’t want to think too much about the pressure of following a #1 record,” he says flatly. “For me the focus was simply staying true to my sound and respecting the identity of KMS. So instead of chasing another hit, I concentrated on groove, raw energy and that classic Detroit feeling that inspired the EP.”

The Architecture of Tension

Zino’s background in piano and composition acts as a hidden skeletal structure within his current 142 BPM, floor-oriented output. He recently collaborated with fashion designer Chiara Amico, seeking to visually represent his sound through a lens of “industrial elegance” – metallic textures paired with sharp tailoring. This visual ethos mirrors his studio process perfectly.

“I like the idea of combining something raw and industrial with something elegant and precise. In the EP I tried to translate that concept into sound: metallic textures, strong drum grooves, but also clean structures and attention to detail. It’s that balance between rough energy and refined sound design.”

While the aesthetic leans industrial, the classical training still demands an outlet. Simone Zino achieves this through micro-arrangements rather than sweeping lead lines. “Even in percussive, floor-focused tracks I try to bring subtle harmonic layers in the background,” he details. “It can be small chord stabs, atmospheric pads, or tension in the arrangement – just enough to satisfy that musical side without taking away from the groove.”

Despite the “Old School” moniker of the EP, Simone Zino isn’t relying on banks of dusty analog hardware to emulate the past. He embraces a modern digital workflow to achieve his gritty textures.

“For this EP I mostly worked digitally,” he reveals. “I like taking a single sound and reworking it through sampling techniques—manipulating it, layering it, reshaping it. That’s a method I’ve been using a lot lately, and it lets me honor the old-school spirit in a fully modern workflow.”

Simon Zino: Escaping the Algorithm

As the co-founder and curator of ROOM360, Simone Zino strictly defines the parameters of his environment. There is a distinct division in his mindset when crafting a deep, hypnotic journey for his residency versus engineering a peak-time weapon. “When I produce for peak-time, I focus on energy and impact – strong drums, driving basslines, and immediate tension,” he notes. “For ROOM360, since I curate it myself, I go for a more groove-driven journey, but in general I produce mostly what I actually play – around 90% of the time.”

This commitment to authenticity insulates him from the highly curated, social-media-driven “Business Techno” circuit. His focus remains entirely on subcultural rebellion. “I always focus on the music first, not trends or clicks,” he asserts. “My sets and residency are about creating a journey, exploring underground sounds, and keeping that raw, rebellious energy alive – away from the usual social media formulas.”

That raw energy translates globally. With a return tour to India scheduled for March 2026, Simone Zino points out the stark differences in global dancefloor dynamics. “I found a very genuine approach to clubbing in India—people there are open, curious, and fully present on the dancefloor.”

As Back To The Old School prepares to hit the digital shelves, it serves as more than just another notch on a booming discography. For Zino, the project operates on two distinct levels.

“I see it as a bit of both,” Simone Zino concludes, reflecting on his dual intentions. “It’s an homage to the roots that shaped me, but also a personal statement on the energy, groove, and rawness I think techno needs to keep alive today.”

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