Even if you’re unfamiliar with the music of Mind Enterprises, you may have come across their viral moments online. A video showcasing the neo-Italo disco duo on a balcony in a Mediterranean city—sipping large glasses of Campari and creating smoke rings—has gained significant traction as a meme over the past year. The imagery conveys a message reminiscent of the “This is fine” cartoon dog: while chaos may reign elsewhere, Europe continues to embody the essence of la dolce vita, and that is more than acceptable.
However, when Mind Enterprises launched their 18-date tour across North America earlier this year, they faced challenges in bringing their carefree spirit along. “Every concert has turned into a diplomatic challenge for us. We often had to negotiate with local production teams regarding smoking and drinking on stage,” Andrea Tirone shared during a video call from his home in Barcelona, where he was joined by his collaborator, Roberto Conigliaro.
Their tour reached a peak at Coachella, marking an extraordinary achievement for a band that had never toured the U.S. before. Upon their arrival backstage at the Sonora tent, they encountered a prominent sign stating: “No drinks and no smoking onstage.” Nevertheless, they found that American restrictions were less stringent than anticipated: “We brought our own drinks, smoked, and faced no repercussions. At the end of our concerts, we typically offer drinks to the audience, and they allowed us to proceed without issue.”
Having met in Sicily in 2011, both musicians transitioned from post-punk backgrounds to pursue their passion for sound engineering in London. Tirone, with his classical guitar experience, and Conigliaro, who trained as a drummer, experimented with various genres, including electronic pop and a phase inspired by Fela Kuti, before arriving at a unique blend of 70s funk, 80s Italo disco, and 90s Eurodance—drawing inspiration from the music that shaped their youth.
“Italo disco, despite its electronic roots, has a rich musical framework,” Tirone explained. “As classically trained musicians, we recognize that the instrumentation in Italo disco mirrors that of an orchestra, merely translated into synthesizers.”
Their latest album, titled Negroni Love, is their third project, following 2016’s Idealist and 2019’s Panorama. The album showcases their eclectic style, with tracks like Da Sola and Tacchini likely to resonate with those nostalgic for Euro-summer vibes, while others like Another World and Aria sulla 4a Corda introduce diverse influences, including trance elements and an electronic reimagining of a Bach piece. Additionally, Burn It! explores intricate baroque harmonies.
Tracks such as Tuttosport and Discough serve as humorous takes on vintage football score reports and seasonal health news, respectively. Releasing a full-length album infused with Italo disco influences may diverge from the genre’s traditional focus on singles and production, but Conigliaro noted, “Our roots are in post-punk, where listening to an entire album was the norm.”
Mind Enterprises embodies a revival of Italo disco, a trend that first emerged from the late 2000s to the mid-2010s, often viewed through a lens of hipster irony. In a 2015 article for Vice, Angus Harrison described the genre as if it were a B-movie representation of disco.
Today, terms like “Europemaxxing” and “Eurosummer” have entered mainstream vernacular, signaling a shift in how Italy and the Mediterranean are perceived as sources of carefree escapism for fashion influencers and lifestyle enthusiasts alike, with Italo disco serving as the soundtrack.
“Italo disco has always found more appreciation outside of Italy,” Tirone remarked. “Many of us Italian millennial musicians discovered it abroad. It never completely faded away but remained somewhat underground. Musically, we crave this genre to counterbalance the darker tones of Berlin-inspired techno. In our current climate, we seek lightness, humor, and melody. We need a break from our struggles and an opportunity to unwind.”
Mind Enterprises’ aesthetic is distinctly analog. Tirone collects vintage synthesizers, often purchasing them secondhand and restoring them to their prime. His latest find is a 1983 Jupiter 6, acquired from a seller in Cagliari who was in financial distress.
This penchant for vintage extends to their fashion choices. Conigliaro reminisced about the past when London charity shops offered an abundance of vintage sportswear at reasonable prices. Nowadays, he travels across Europe to hunt for unique clothing, particularly favoring the sportswear brand Sergio Tacchini, with a preference for shorter shorts. Tirone has his vintage 1980s Cerruti suits tailored by a skilled seamstress, emphasizing the importance of fit to avoid looking out of place.
Despite the reductive perception of Italo disco and eurodance music, the duo remains unfazed. “In today’s world, it benefits us to be Italian. While negative stereotypes exist, there are plenty of positive ones that we embrace,” Tirone stated. “Culturally, we prioritize elements that enhance enjoyment in life.”
