The Boysnoize Records catalogue marks over a decade of achievements for Angeleno DJ and producer Pilo, showcasing his distinct focus on sound design and hardware-like digital crunch. His journey through electro, experimental, and techno reflects an evolution of skill and sophistication. After numerous releases, G.L.A.M. is Pilo’s first full-length album, capturing the cyclical nature of time and signifying new beginnings. The eight tracks delve into the dreams that fueled his passion, echoing the allure of 2000s European electro and electroclash—an enticing escape from the hard-edged masculinity prevalent in American hip-hop and skate culture.
Opening with “Superstar DJ,” Pilo presents an idealized fantasy with playful, self-referential lyrics, complemented by a driving bassline and energetic rhythm. While nodding to 2000s influences, Pilo’s confident production breaks new sonic ground. Tracks like “Girls Rule The World” deliver fierce electroclash vibes, while “What You Want” showcases synthesizers as the new guitars. “Loverboy” dives into melodically rich electro, and the titular track “G.L.A.M.” features Scopa’s coldwave vocals, with Pilo’s FX handling elevating the sound to new heights. We had the chance to chat with Pilo to discuss his nostalgic journey and entering psychoacoustic territory.
“G.L.A.M.” marks your first proper album after a decade of releases. How does this album represent a culmination of your journey so far?
G.L.A.M. symbolizes everything in my journey. I’ve poured everything I’ve learned over the years into this album—from sessions with artists who challenged me to collaborations that pushed my skills. Years ago, Anna Lunoe asked me about my goals, and while I felt unsure at the time, I knew I wanted to be known for a sound that was unmistakably mine. With G.L.A.M., I feel like I’ve actualized that goal. This album is my opportunity to showcase something impactful, something that goes beyond experimentation and truly defines me as an artist.
This time around, I focused on creating a dance record that channels everything I cherish, while also pushing myself to answer personal questions about my identity and musical core. Writing lyrics and stepping into the spotlight to use my own voice was a huge part of that journey, challenging me to make music that’s not only raw but emotionally complex. I wanted to create something that isn’t just a “club track”—it’s a statement of who I am.
This process also lit a new spark for me: I’m excited to write for other artists, to be someone people seek out for a distinctive sound. My life has been all about exploring music and experimenting, and with G.L.A.M., I feel like I’ve come full circle, finally ready to share that sound in its purest form.
You’ve mentioned the importance of sound design in your work. Can you elaborate on what that process looks like for you in the studio?
My sound design process is a bit of controlled chaos, and I find that essential. I go deep, pushing each sound to its absolute limit—stretching and fracturing it to create something uniquely resonant. For me, the goal is to shape a kind of mosaic that feels deeply connected to my core, almost like speaking to an inner voice or core memory.
I’m unafraid to let go of ideas and completely break them down, only to rebuild them into something new. There are countless avenues to explore, and I’m eager to venture into each one just to find something fresh for my ears. I’ve always been inspired by artists who go out of their way to sound different—not for attention, but to understand themselves on a deeper level. Experimentation is everything, and it’s through perseverance in the unknown that I find what truly resonates with me.
“G.L.A.M.” embraces the cyclical nature of time. How did that theme influence your writing and production of the album?
The cyclical nature of time really shaped G.L.A.M., as I wanted to go beyond the present moment or current trends. I aimed for something that feels timeless—music that isn’t bound by any specific era. For me, the act of writing becomes a space where time fades; it’s just about the fun and freedom of creating. While working on this album, I found myself reconnecting vividly with childhood memories, almost as if honoring my younger self.
My father played a big part in that journey. Growing up in Manchester, he experienced the Acid House and punk scenes firsthand. His stories and influences have woven into who I am today, and through G.L.A.M., I feel like I’ve connected more deeply with that legacy. Time became abstract for me—I felt linked not only to my past but also to the eras that shaped my influences.
Now, as I grow older, I can see how these sounds have shaped me, giving me a chance to unlock parts of myself I hadn’t yet explored. This album allowed me to look back at my early ambitions and fulfill promises I made to my younger self. In a way, I’m becoming the artist I once dreamed of being, building a strong foundation for a unique path forward.
Your music has evolved through various genres like electro, experimental, and techno. How do you decide which direction to take with each new release?
My journey through genres like electro, experimental, and techno has always been about self-discovery. I’ve constantly asked myself, ‘What sound truly feels like me?’ and the experimentation, along with feedback from listeners, has helped me understand what really defines the ‘Pilo sound.’ As I began working on G.L.A.M., I found that tapping into my memories and past ambitions shaped the unique sound I’d been yearning to create.
I’m incredibly grateful to now express myself more clearly and to feel so much more productive as an artist. When I was younger, finishing music was tougher because I wasn’t always sure of my direction. Now, I have a lot more confidence in what I want to achieve sonically. The tools I use have been sharpened over time, and they feel like an extension of my vision
Tracks like “What You Want” showcase a blend of synths and FX processing. Can you share your thoughts on the role of synthesizers in your music?
Ah yes, with ‘What You Want,’ the sound journey was all about experimenting with layers of synths and FX. I believe I started by running recordings through my Elektron RYTM into an MS20 filter, which gives incredible distortion. Sometimes, I’ll record melodies and then use granular synthesis to uncover new interpretations I wouldn’t normally think of—it’s like accessing different parts of my brain. When I feel stuck, I pivot by resampling and manipulating recordings through FX, discovering new sonic possibilities.
The riff for ‘What You Want’ actually came from one of those resampling moments. I was scanning through the recording and found this section that felt so expressive—it became the core of the riff. The vocal was from an initial recording with Sana for ‘Spend the Night.’ Her voice had this seductive quality that fit perfectly with the track’s vibe, reminding me of the Justice tracks I loved as a kid.
“Spend the Night” presents a notable shift towards a pop sound. What prompted this change in style, and how do you feel it fits within the broader context of “G.L.A.M.”?
“Spend the Night” took a more pop direction, which happened organically. I started out trying to recreate J Dilla’s “The $$$,” but ended up channeling a lot of Felix Da Housecat’s influence, who shaped my childhood. I wanted to capture that pop sound with a unique sonic palette.
The track really came to life with Deevious and Sana. I encouraged them to freestyle, and Sana’s raw, one-take recording, where she mixed Russian and Ukrainian, was perfect for the vibe. Once the vocals were laid down, Deevious added her touch, and we worked with Danny Goliger to mix it.
Lyrically, “Spend the Night” is about freedom on the dancefloor, navigating nightlife, and letting go of toxic experiences. It’s about embracing the moment, even when you run into old connections. The track fits into the broader message of G.L.A.M. — stepping into the spotlight, trusting yourself, and shining from within.
“Spend the Night” was a milestone for me, exploring how my sound could work in pop while staying true to my voice. It was a promising first step in merging my unique style with mainstream elements.
Collaboration seems to play a crucial role in your work, as seen with Sana and DEEVIOUS on “Spend the Night.” How do you choose your collaborators, and what do you look for in that synergy?
Collaboration is really important to me, and I’m very much a natural person when it comes to it. It’s vital for me to meet someone and get to know them first. Connection is key, and I find so much of it when you meet someone and dive deep into yourselves, finding commonalities. I’m also drawn to unique personalities—people who have real energy and depth to their lives, who understand what they want to say, and seeing how I can help channel that out of them.
Collaboration has been a huge part of understanding myself and expressing who I am. I believe it’s one of the biggest tools for an artist’s growth. Meeting new people, expressing yourself in front of them, and creating a vision together is beautiful. There’s so much excitement and fresh energy that comes from it. Working with someone else to create something so unique that wouldn’t have been possible alone is something I really cherish.
I’ve spent so much time weaving life lessons into my music and creating these worlds. It’s amazing to find people who come into these spaces and add their own life to them. I love seeing what ideas stick to them and how they bring it all to life. It’s an exciting part of the process, and I’m looking forward to expanding that into future projects.
In “One Last Embrace,” you venture into psychoacoustic territory. What does that mean to you, and how did you achieve that effect in the production?
This track was definitely a challenge, especially when it came to the mixdown. It forced me to keep things really simple. A good reference for this track was DJ Stingray—he has this ability to create such simple arrangements but with incredibly complex soundscapes. It made me ask, how can we get the most out of an idea without overcomplicating it? That’s something I’ve struggled with a lot since the start of my career.
“One Last Embrace” came to me in a dream, actually. I was visited by a best friend who passed away a few years ago, and the track just came together at the end of the album process. I was exploring how far I could push a voice, creating a choir of melodies playing off each other. It really dives into my experience as a sound designer, experimenting with time-stretching and maximizing limited audio sources. I love seeing how far I can stretch or process something to create a unique result.
The key question was how to make it emotive—how to craft a soundscape that resonates with others. The final drop, which is emotional and heavy, was tough at first. But as I started stripping things away, letting the track evolve, it all came together. I’m really proud of this one. It couldn’t have been a more perfect ending for the album.
What do you hope listeners take away from “G.L.A.M.” upon hearing the full album?
What I hope listeners take away from G.L.A.M. is to enjoy themselves and have fun. It’s easy for the world to pull you into comparing yourself to others’ success, making you feel bad about where you’re at. But I want people to challenge themselves to feel comfortable enough to dance freely, even when everyone’s watching. Don’t be afraid to be you.
I think this album invites us to soul search and really look at what we like about ourselves. It’s about creating the superstar within, the one you wish you could be — because that person is already in you. You just have to trust yourself and challenge yourself to be comfortable in your own skin. It’s about embodying your values, your morals, and asking yourself, “How can I believe in myself 100%?” What does that look like?
Finally, if you could define your musical philosophy in one sentence, what would it be?
My musical philosophy is rooted in the belief that who you are as a person directly influences your sound, and that personal growth and being ‘right within’ are essential to creating authentic music, as Lauryn Hill said, ‘How you gonna win if you ain’t right within?
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G.L.A.M. is out now on Boysnoize Records: https://ffm.to/_glam
