By Sara Díaz (Fairfield University) & Aidan Maione
With millions of streams and two platinum certifications in Italy, Subsonica stands among the country’s most popular bands. The five person group is best known for combining the genres of rock, pop, and electronic. Founded in 1996 in Turin, a city that has nurtured their growth since their inception, the group occupies a unique niche in contemporary Italian music. During the late 90s when electronic music was largely confined to dance clubs, the band successfully integrated it into the mainstream. Over more than two decades, Subsonica has not only achieved substantial commercial success but has also made a cultural impact because of their innovative approach.
Subsonica formed in the summer of 1996 in the midst of a cultural explosion in Turin. Underground electronic music, particularly techno, and house drew crowds of thousands to Turin’s nightclubs. Subsonica’s early sound drew from and simultaneously helped define this scene. In their own words, “Per noi e’ nato tutto nei club. La nostra storia parte da li’” (Subsonica). The original lineup consisted of Samuel Umberto Romano as the lead singer, Massimiliano “C-Max” Casacci as the guitarist, Davide “Boosta” Dileo as the keyboardist, Enrico “Ninja” Matta as the drummer, and Pierfunk as the bassist (who was later replaced by Luca “Vicio” Vicini). Their self-titled debut album, released in 1997, was distinctly rock, yet already experimental. Although the record achieved moderate success on the charts rather than immediate stardom, it positioned Subsonica as part of a rising new wave of Italian bands.
The group’s major breakthrough came in 1999 with the release of their second album, Microchip Emozionale. The project featured two of Subsonica’s most iconic singles: “Tutti i miei sbagli,” their biggest hit with 17 million streams on Spotify, and “Discolabirinto,” another popular track with around 10 million streams. Both became radio hits, growing the band’s reputation. Their momentum continued into 2000, when they participated in the prestigious Sanremo Music Festival, one of Italy’s most celebrated and traditional music competitions. The aforementioned songs resonated deeply with audiences at the festival and catapulted the group into mainstream visibility. In the months that followed, their popularity remained consistently high, culminating in further acclaim, including recognition at the MTV Europe Music Awards.
After their breakthrough, Subsonica continued to build on their newfound fame. Their third album, Amorematico (2002), refined the group’s electro-pop sound, as the energy found in their previous album could still be found in the new tracks. In 2005, Terrestre shifted the band’s focus toward a more rock-oriented sound. The tracks leaned less on digital textures and embraced a more organic, guitar-driven approach. L’Eclissi (2007) plunged into a darker, more expanded version of all of the above. For example, the song “L’Ultima Risposta” is led by a front guitar but contains small electronic breaks. Other songs like “Quattrodieci” are heavy on electronic effects, yet still carry a distinct guitar. By 2011, Subsonica returned once more with Eden, a record that not only showcased their evolution but also went platinum. Three years later, their seventh album, Una Nave in una Foresta, debuted at number one in Italy and was supported by an ambitious national tour. The group had clearly become one of the country’s most enduring bands.
With eleven studio albums under their belt, Subsonica has consistently reinvented themselves. Their discography spans from rock, electronic, and pop. They would go on to win the MTV Europe Music Awards (2000, 2002), Amnesty Italia Award (2008), and David di Donatello (2024). Instrumentals are central to understanding Subsonica. In fact, they define much of the group’s identity: their instruments speak as profoundly as their introspective lyrics. The band does not simply overlay synthesizers on guitars; rather, they mix both elements on equal footing, creating a dynamic sound. Even within a single album, their songs cannot be constrained to a particular genre. In Terrestre, for example, “Corpo A Corpo” is a rock anthem, complete with intense vocals, a smooth bass line, and clear guitar chords. Three songs later, “Abitudine” opens with a melodic synth. Beyond sound, Subsonica’s online presence, visual identity, and use of modern aesthetics have earned them the title of a “multimedia band” in Italy. Widely regarded as one of Italy’s most dynamic bands in concert, they attracted over 230,000 fans during their 2005 through 2006 Terrestre and Be Human tours. They were exceptionally active as well, giving around 150 performances between January and October, 1998. Their use of technology is not just limited to their music, as almost every one of their shows contains impressive light arrays that keep the crowd engaged. Quite a few also feature dynamic backgrounds as well, infusing the auditory art with visuals.
If there is one common theme in almost all of their music, it is their use of poetic lyrics. Consider their song “Incantevole”:
Se leggera ti farai
io sarò vento
per darti il mio sostegno senza fingere
se distanza ti farai
io sarò asfalto
impronta sui tuoi passi senza stringere mai
Se battaglia ti farai
io starò al fianco
per darti il mio sorriso senza fingere
se dolore ti farai
io starò attento
a ricucire i tagli senza stringere mai
(“Incantevole” 2005)
(If you become light
I’ll be the wind
to support you without pretending
if you become distant
I’ll be the pavement
a footprint under your steps, without constraining
If you battle against yourself
I’ll be at your side
To give you my smile without pretending
If you hurt yourself
I’ll be careful
To mend the cuts, without constraining)
Their extensive placement of metaphors equates the speaker to elements like asphalt, support, and wind in order to convey presence. Repetition of conditional clauses (“Se… ti farai, io…”) creates a rhythmic structure. They also employ strict antithesis between potential hardship and the speaker’s gentle response. These rhetorical devices and techniques are found throughout their catalog, transforming simple feelings into immersive experiences.
The band’s identity is also deeply tied to their hometown, Turin. The city has been the home of automotive giants FIAT and Lancia, and as factories fueled both economic growth and intense labor unrest, the city later reinvented itself by transforming former industrial sites into cultural and creative spaces. This backdrop naturally gave way to the formation of the underground clubs and an active alternative scene: a perfect setting for Subsonica’s experimental sound. As their song suggests, even the air conditions at times are poor and the city is always bustling with action. Yet even in their lyrics, specially in “Il cielo su Torino,” peace can be found:
Un altro giorno, un’altra ora ed un momento
dentro l’aria sporca il tuo sorriso controvento
il cielo su Torino sembra muoversi al tuo fianco
tu sei come me
(“Il cielo su Torino” 1999)
(Another day, another hour, another moment
in the dirty air, your smile against the wind
the sky over Turin seems to move by your side
you are like me)
What shapes Turin is not only its physical landscape, but also the way its culture operates. Turin’s commitment to anti-racism (quite literally calling itself the “Capital of Rights and Anti-Racism”) and community co-creation mirrors the city’s broader history of reinvention that also shapes Subsonica’s identity. It can be said that in many ways, the band’s music reflects the voices of marginalized communities. Songs such as “Pugno di sabbia” illustrate their direct activism perfectly:
Pelle color della sera
afro italiana, due g
senza una patria d’origine ormai
nata e cresciuta qui dove potrai
essere per sempre straniera
volare in una voliera
(“Pugno di sabbia” 2023)
(Skin color of evening
Afro-Italian, second generation
with no homeland left to claim
born and raised here, where you will
be a stranger forever
a bird flying in a cage)
Many young people born in Italy to foreign parents grow up feeling fully Italian yet remain legally unrecognized. These lyrics tell the story of a second-generation woman who, despite being born and raised in Italy, are still treated as outsiders, marked by “skin [the] color of evening” and the label “Afro-Italiana.” Their experience of being able to “fly only in a cage” mirrors the legal barriers that confine their future. Those seeking to belong are not fully accepted, and those accepted often no longer feel they belong.
Subsonica’s strength lies in duality: the tension between lyrics and instruments, between rock and electronic sounds, and between an Italy for and against immigration. Ultimately, one realizes that neither element can function without the other. Their ability to fuse the personal and the political captures what it feels like to belong while also evolving. By blending many genres, they demonstrate that Italians, too, can blend with new influences and communities. This is what makes their music truly art. Even after more than two decades, Subsonica has remained relevant not by chasing trends, but by crafting their work with purpose. They reflect their city and therefore give voice to stories that might otherwise go unheard. In doing so, they have become more than just a band; they have become an outlet for Italians of all backgrounds to experiment, party, and experience the thrill of the club scene.
Subsonica’s two decade long career shows that evolution is key to sustained success, yet the band still has similar charm as when it started. Their blend of rock, pop, and electronic music has made them one of Italy’s most influential acts. With over a hundred million streams, certifications, awards, and most importantly a legacy, they have not only shaped Italian music but have also given voice to broader social issues. As they continue to innovate, Subsonica’s future looks bright, with new projects still to come.
Current members of Subsonica:
Samuel Umberto Romano (born in Turin on March 7, 1972) – Lead vocals, acoustic guitar
Massimiliano “C. Max” Casacci (born in Turin on October 11, 1963) – guitars, backing vocals
Luca “Bass Vicio” Vicini (born in Susa on October 5, 1971) – bass, guitar
Davide “Boosta” Dileo (born in Turin on September 27, 1974) – keyboards, piano, programming, backing vocals
Enrico “Ninja” Matta (born in Turin on September 24, 1971) – drums, percussions, programming
Former members:
Pierpaolo “Pierfunk” Peretti Griva (born in Lanzo Torinese on August 29, 1967) – Bass
