Italian-born, London-based artist SAMLOW introduces his debut single “Magazine,” driven by bass-led indie wave.
Raised in a working-class home in the Italian Alps, Sam Gino’s musical foundations were shaped by isolation, scale, and low frequencies long before SAMLOW became a defined artist project. From the quiet of the mountains to studios and stages across Europe, the UK, Australia and beyond, his journey has been one of patience and craft rather than sudden arrival. Bass was his first instrument, and it remains the backbone of his sound, driving songs built on groove and momentum.
After more than a decade touring and performing in bands across multiple territories, Sam began tuning into his own frequency, stepping out from behind the bass to give voice to the songs he had been writing all along. The result is SAMLOW: a project rooted in melodic basslines, stripped-back synths and choruses that linger rather than explode.
His debut single, Magazine, marks the first clear transmission of that identity. Produced at Cube Recording Studios in Cornwall with Gareth Young and co-written with Bnann Infadel, the track explores obsession and connection through restraint rather than noise, sitting somewhere between new indie wave and alt-rock. In this interview, SAMLOW reflects on his foundations, his evolution as an artist, and the ideas driving this first release.
How did growing up in the Italian Alps shape you musically and personally?
The Alps give you a real sense of scale. You grow up feeling tiny, but also like you can take on anything. That rise-and-fall feeling naturally slips into my music. Growing up in a mountain town with limited musical options also meant a kind of isolation, which pushed me to look beyond it. That drive shaped me both personally and musically.
Bass was your first instrument. What drew you to it, and why has it remained the backbone of your sound?
Bass hooked me when I was eight at a funfair. I was standing next to these huge bumper-car speakers when Bernard Edwards’ bassline on Good Times by Chic hit me so hard my whole body shook. I didn’t even know it was a bass; I just knew I loved that feeling in my chest. Ever since then, most of my ideas start from a bass riff or a groove.
You spent years playing in bands and projects across Europe, the UK, and Australia. What did that period teach you before starting SAMLOW?
Those years – and the tours I’m still doing – are basically a masterclass in survival. It’s endless van rides, early flights, and those 3 a.m. laughs when everyone’s too tired to even find their hotel room. That’s where you really learn ‘the pocket’ and how to read a room. Playing with Absolute Bowie, especially, is something I feel honoured to be part of. It’s taught me that making music is about chemistry, commitment, and honesty. I’m taking all those lessons and just following my own energy forward.
What was the moment you realised you wanted to step out from being a bass player and focus on your own artist project?
There wasn’t one big moment. I’d always been writing songs and feeling that pull. At some point, it just felt natural to tune into my own frequency and realise I was the voice my music was asking for.
How would you describe the SAMLOW sound to someone hearing it for the first time?
I don’t really believe in definitions, but it sits somewhere between new indie wave and alt-rock. It’s music for people who feel a bit out of place, but still want to dance.
“Magazine” is your debut release. Why did that song feel like the right introduction to the project?
“Magazine” just felt right. It’s about obsession and connection; those rare, magnetic presences that don’t need to shout. Musically, it has that rise-and-fall feeling—the right groove between the obsession and the hooks that just are the song.
What inspired those themes?
In a world constantly screaming for attention, there’s something powerful about a person or a feeling that stays quiet but still hits you. It’s about that pull you can’t explain, and that real connection we all need.
How did working with producer Gareth Young and co-writer Bnann Infadel (Infadels) influence the final sound of the record?
Working with Gareth and Bnann shaped the sound exactly how I’d imagined. I first connected with Gareth through his work with Tom Meighan, who I’ve admired since the Kasabian days, so ending up at Cube Recording in Cornwall felt like a real full-circle moment. Because Gareth is also a drummer, there was an immediate shorthand when it came to turning raw ideas into structured songs. With Bnann, it was that rare writing chemistry you can’t quite explain; it just happens when energies align. The sessions were incredibly relaxed. We clicked instantly, got the tracks done, laughed a lot, and discovered some dangerously good Cornish pasties down the road!
You’re now based in London. How has the city impacted your writing and creative direction?
London is all movement and friction, and it’s pushed my music in a more urgent direction. You can have a rough week and then suddenly bump into your heroes; that actually happened when I met Simon Le Bon and Roger Taylor from Duran Duran in a pub in Balham! Playing with James Taylor was another unexpected great moment. That mix of grit, chaos, and surprise keeps my creativity buzzing.
With “Magazine” now launched, what can listeners expect from you next?
“Magazine” is just the start. The tracks we captured at Cube have a great energy that we’ll be rolling out over the coming months, culminating in a full EP later this year. After spending so much time perfecting the sound in the studio, I’m excited to see how the audience reacts to the live versions!