Acclaimed producer and mix engineer Giampaolo Pasquile returns with his new album The Fake Truth a reflective and forward-thinking project that blends classic recording techniques with the tools of today’s digital age.
Released via Decent Music PR, The Fake Truth explores the evolving relationship between music and technology. At its core, the album is about balancing progress with emotion, and using innovation to support rather than replace human creativity.
“We can’t pretend nothing is happening,” Pasquile says. “There was vinyl, then tapes, then CDs, and now digital. Technology is part of the story of music. Refusing it would be like refusing the present.”
Rather than avoiding modern tools like artificial intelligence, Pasquile approached them with curiosity and control. AI was used in parts of the creative process, not as a composer, but as a collaborator—offering suggestions and textures that were then shaped by Pasquile’s experience and instinct. “Every track was crafted with the same care I’ve always put into my work,” he says. “AI wasn’t the creator it was a tool that amplified ideas.”
The album features both fully human tracks and hybrid compositions that combine analogue elements with digital input. Throughout, the focus remains on feeling. Whether using a real Hammond organ or a software plugin, Pasquile’s priority was always whether the sound connected emotionally with the listener.
“I’m a deeply nostalgic person,” he explains. “I love the warmth and breath of older recordings. But I also didn’t want to get stuck in the past. This project was a way of challenging myself to stay open, to keep moving forward.”
Pasquile’s resume spans two decades and includes work across pop, jazz, classical and R&B. He has collaborated with the likes of Mike Posner, Stewart Copeland, Tears For Fears, and will.i.am, and has earned Grammy nominations and Platinum certifications along the way. With The Fake Truth, he continues to evolve, bringing together the past and future in a way that feels quietly personal and distinctly current.
“The tools don’t matter as much as the intention,” he says. “It’s about whether the music makes you feel something.”
