Killing Chic

Killing Chic is a rock band built on a shared respect for the roots of classic rock, and a drive to push it forward. Their self-titled album is due for digital release in November 2026 via Joff Entertainment. Physical formats – vinyl and CD – will be available in early 2027.

 

Who is in Killing Chic, how did you meet and what do you play?

Sergio: Killing Chic was born in the strange, surreal days of the COVID lockdown – a time when the world suddenly stopped and, for the first time in my life, I was forced to slow down, step away from the madness, and dedicate some time to myself.

For some of us, rock music is more than music. It is a religion, an attitude, a way of surviving. And during lockdown, the message was simple: now or never.

That was when the idea of starting a band became reality. Together with my guitar teacher and friend Matteo, aka “Z”, I decided to turn that strange period of isolation and uncertainty into something creative.

The songs naturally took their inspiration from the absurdity of the world around us – the fear, frustration, isolation, uncertainty and, at times, the dark humour that helped us get through it.

Z brought together the rest of the original line-up. I invited my dear friend and bass player Jimi Crutchley, from Birmingham, formerly of The Quireboys and manager for Glenn Hughes. Z brought in his bandmate and colleague Fasa, a multi-instrumentalist and drummer, along with Chris on vocals.

The chemistry was immediate.

Together, we recorded our first track, ‘Choosing My Poison’, and created our first video – the first chapter of what would become Killing Chic.

Of course, reality eventually caught up with us. With Jimi based in another country and both of us committed to demanding professional lives, maintaining the collaboration across borders became increasingly difficult. Rather than stop, we adapted.

Today, Killing Chic continues to record and perform with a special guest bassist, bringing the same energy, attitude and unapologetic love of rock to both the studio and the stage.

What started as an idea born in isolation has become something very real.

Killing Chic is about turning chaos into music, frustration into energy, and life into rock ’n’ roll.

Our sound is rooted firmly in rock, but it is far from rough around the edges. We believe in a well-polished, carefully crafted sound, with particular attention paid to tone, texture, dynamics and the smallest details of the production. At the same time, our music leaves room for the many influences that have shaped us over the years, allowing different sounds, styles and musical ideas to find their way naturally into what we create.

The result is rock with attitude, precision and character – music that respects its roots while refusing to be confined by them.

 

What is your earliest musical memory?

SERGIO: My father travelled extensively around the world and, during the 1970s, spent a great deal of time working in the USA. He was also a passionate jazz follower, so our house was constantly filled with the sounds of Gerry Mulligan and Erroll Garner. Those records were simply part of everyday life and, without realising it at the time, they became the first layer of my musical education.

But the first song that really stuck in my mind was ‘Come Together’ by The Beatles. It was in the Italian charts at the time, and something about that song immediately stayed with me.

From there, things got louder.

Hard rock soon became the soundtrack of my childhood. Deep Purple, Rainbow and Black Sabbath were my day-to-day musical diet, and their influence became impossible to escape — in the best possible way.

Looking back, I think that mixture of jazz, classic rock and hard rock explains a lot about who we are today with Killing Chic. We are unapologetically a rock band, but our musical background is much broader than one genre.

That is reflected in the way we approach our music. We want the power, attitude and energy of rock, but we also care deeply about sound, tone, texture and detail. Every instrument has its place, every sound has a purpose, and the production is carefully crafted rather than simply thrown at the wall.

The result is a sound that is well polished without losing its edge — rooted in the great rock tradition, but open to the other musical influences that have shaped us along the way.

For us, Killing Chic is not about trying to recreate the past.

It is about taking everything we have absorbed over a lifetime and turning it into something of our own.

 

When did you begin songwriting?

Sergio: I guess songwriting really started for me during COVID. And I have to say, it happened in a rather unorthodox way.

Usually, you might start with a melody, a guitar riff, or some lyrics and build the song from there. My process is a little different. I normally have a story to tell first – something I want to say, an idea, an experience or a feeling that needs to come out.

Then Matteo and I start attaching the music to the story as we go along.

It can be quite confusing sometimes! We might be working on the lyrics with Chris while the music is changing underneath them with Z and Fasa, moving

things around, trying different ideas and occasionally wondering where the hell the song is going.

But somehow, it works.

There is a kind of natural conversation between the story and the music. One influences the other until, eventually, they meet somewhere in the middle and the song starts to take its own shape.

I think that is also why the songs feel very personal. The music is not written first and the story fitted afterwards – the two things grow together.

 

You will release your new album self-titled album in November 2026. How did you want to approach the making of the album?

Sergio: To be honest, we just stumbled into it really. 😊

There wasn’t a big master plan to make an album from the beginning. We simply kept writing, experimenting and recording. One song led to another, and before we really realised what was happening, we had enough material to look at each other and say, “Okay… I think we have an album here.”

So we decided to wrap everything up into one record.

There is also something quite natural about the way the album came together. It wasn’t written as a concept from beginning to end; it grew organically out of the songs, the stories and the energy we were creating together.

And when it came to the title, we decided to follow an old tradition: we called the album Killing Chic.

It felt right. The album represents the band as we are – all the different influences, personalities, sounds and stories coming together in one place.

So, in a way, we didn’t really set out to make an album.

We just kept making music until the album happened.

 

Where did you record the album and who produced it?

The album was recorded in Torino where most of us are from apart from Chris, that being said the last track ‘Out Of Place’ was recorded in August ’26 at the Abbey Road Studios in London and the track will be included in the vinyl limited edition produced and distributed during the album launch. I am the producer and editor through a dedicated company called Joff Entertainement. For the time being we like to keep it all under one roof to close monitoring the developments.

Do you have any interesting, funny or memorable stories from the recording sessions?

I think the experience at Abbey Road left a very deep memory in all of us.

There was nothing particularly funny about it – it was simply very emotional.

What struck me most was seeing the personal reaction of each member of the band. We all experienced that moment in a slightly different way, and it was fascinating to watch everyone take it in.

Even Francesco Priolo, our sound technician, who follows us everywhere for both our live shows and studio recordings, was deeply affected by the experience.

For musicians, Abbey Road carries such an incredible history. You walk into the place knowing what has been created there before you, and suddenly you become very aware of the significance of what you are doing yourself.

We came away with a memory – one that I think will stay with all of us for a very long time.

 

Did you use any particular instruments, microphones, recording equipment to help you get a particular sound/tone for the record?

The instruments and equipment are a big part of the character of the record.

Personally, I tend to play and record with Gibson SGs. In fact, most of the SGs I use were gifts from my dear friend Tony Iommi, which obviously makes them very special instruments for me. I also use Taylor guitars for some of the acoustic sections, while a Telecaster is another guitar I often turn to when I’m looking for a different character and tone.

Matteo “Z” is an endorser of PRS Guitars, and those instruments have become an important part of his own style and sound. His playing and the PRS tone work very naturally together.

Fasa has been an endorser of Gretsch and Zildjian for many years, as well as ProMark drumsticks, so his drum sound is also very much connected to the equipment he knows and trusts.

On the recording side, we use Sennheiser microphones, Cubase Pro on Mac, UAD equipment and software, alongside a fairly extensive collection of analogue hardware, including preamps and audio interfaces.

But ultimately, equipment is only part of the equation. For us, it is about finding the right combination of instruments, tones and recording techniques to serve each song.

We are quite obsessive about sound and detail, so we spend a lot of time getting the right tone rather than simply the biggest tone.

That attention to detail is an important part of the Killing Chic sound.

Which of your new album tracks hear you at your a) happiest, b) angriest and c) most reflective?

I would definitely say reflective.

I tend to write lyrics that tell a precise story. I don’t really like putting words into a song simply because they rhyme or because they sound good together. For me, there has to be a reason behind the words. I want the listener to understand that there is a story, an experience or a thought behind what I am singing.

As for happiness… well, not for the time being! Hopefully it will come, but perhaps not just yet. 😊

I am probably too sensitive to what is happening in the world around us. It is difficult to completely disconnect from it, and many of the things happening today inevitably find their way into my thoughts – and eventually into the songs.

So perhaps the album is more reflective than joyful. But I don’t necessarily see that as a negative thing.

There is always room for happiness. I just haven’t written that song yet.

 

Was it a difficult album to write?

No, we are still at the very beginning of the Killing Chic story, and at this stage we are simply having an immense amount of fun doing what we do. There is no pressure to fit into a particular formula or to prove anything to anyone.

We write, we record, we experiment, and we enjoy the process.

I think that enjoyment comes through in the music, because when you genuinely love what you are doing, the work tends to flow accordingly.

We are still discovering what Killing Chic can become, and that is probably the most exciting part of it all.

 

Who designed the album artwork?

We did it ourselves.

I come from a design and communications background, so I have the knowledge and experience to art-direct this part of the project. For us, the visual side of Killing Chic is just as important as the music – it is another way of expressing who we are and what the band represents.

We wanted to have control over the creative direction and make sure that the artwork felt genuinely connected to the music, rather than simply being something added at the end of the process.

So the album artwork, like the music itself, is very much a Killing Chic creation.

One of the tracks is the single ‘Too Late’. What was the story/inspiration behind the track?

‘Too Late’ is about time passing and the opportunities that, at some point, are no longer ours to take.

In this particular case, it is about a love story that never happened. Two people, perhaps at the wrong time, with the wrong circumstances, and eventually the moment is gone.

The difficult part is that the feeling may still be there. The desire may still be there. But timing matters. There are moments in life that, once they have passed, cannot simply be recreated.

And that is really the heart of the song: a love that could have happened, but never did – because by the time it could, making it happen would almost be a mistake.

 

Do you have any visualisers to accompany the album?

Yes, we do. We have a full collection of photos from our album shoots, as well as two music videos. We also have our own trusted and dedicated photography and film crew who have been working with us throughout the project.

Where is your hometown and could you please describe it in five words?

Sergio: I’m originally from Turin, Italy, although my life has taken me in a few different directions. London is another important part of my story – I grew up professionally there and still spend a few months of the year in the city. I also live part of the year in the south of France.

As for the rest of the band, Matteo was born and is based in Turin, while Fasa is originally from Vercelli, not far from Turin, and is also based in Torino professionally. Chris is originally from Genoa and now lives and works in Lecco, near Milan.

So, lets take Turin as our home town and if I had to describe Turin in five words, I would say:

Elegant. Cultural. Historic. Cosmopolitan. Alpine.

Turin was the first capital of Italy, and it is often described as a small Paris because of its elegant architecture, grand boulevards and café culture. It has always had a strong cultural identity, with a fascinating mix of history, art, music and industry.

And then there are the Alps, sitting right on its doorstep.

Turin is elegant, understated and culturally rich – with the mountains watching over it.

How do you look after your voices?

Well, of course our vocalist Chris should be the one to answer and I believe he could write a full 50 chapters instruction manual on the subject… here his answer:

“When I have to play a show, my voice becomes the main focus of my days. I start in the morning by hydrating with a tall glass of water and doing some gargling to wake everything up. Then I work on releasing the tension around my face and neck through massage and targeted exercises. During the day, I stay away from fatty and hard-to-digest foods to avoid reflux, which really dries out my vocal cords. I never, ever raise my voice, and I try to laugh as little as possible (which is probably the hardest part when touring around with Killing Chic, believe me!). I usually nebulize with saline solution throughout the day, either while I’m moving around or getting ready to sing. I warm up all the musculature around the voice box for 20–30 minutes, and then spend another 20 minutes focusing specifically on the voice. The more I have to sing, the less I usually warm up. I know it sounds counterintuitive! :)”

 

Do you have any live dates planned in the UK/Europe in 2026/2027?

Not just yet we are working on it right now.

 

What two things do you hope to have achieved once you have left the stage?

The first one is quite simple: to be called back on stage once again! 😊

But seriously, the second and probably most important thing is knowing that we have left good vibes and positive energy with the audience.

For me, a live performance is not just about playing the songs well. It is about creating a connection. I really enjoy coming down after the show, talking to people and hearing their immediate reactions to the performance.

There is something very special about getting that feedback face-to-face, while the energy of the gig is still fresh.

So, if people leave the venue smiling, buzzing, and hopefully wanting to hear us again – then we’ve done our job.

 

Do you have any favoured stage instruments, effects, pedals, microphones etc?

Sergio: I feel safe with my GS and Kemper while Matteo plays with his PRS and Quad Cortex and all of us with are in-ears NTS audio.

 

You are given the opportunity to write the score for a film adaptation of a novel that you enjoy. Which novel is it and why?

We have four very different answers from the band – which probably says quite a lot about us!

Z: The Lord of the Rings. I would love the opportunity to score The Lord of the Rings because of the enormous scale of the story – the epic journeys, the darkness, the battles, the mythology and the incredible range of emotions. There is so much atmosphere and so many different worlds within the story that it would be a dream for any musician to explore.

Fasa: The Exorcist. For me, it would be The Exorcist. The atmosphere, tension and darkness of the story would offer an incredible opportunity to experiment with sound. I’d love to create something unsettling and powerful, where the music becomes almost another character in the film.

Sergio: Perfume by Patrick Süskind. I would choose Perfume because of its extraordinary atmosphere and the way the story is built around something as intangible as smell. It is dark, sensual, disturbing and incredibly visual, which makes it fascinating from a musical point of view.

I do often explore how to translate smells, memories, art and and emotion into music and vice versa, creating a soundtrack that the audience almost feels physically rather than simply hears.

Three completely different choices: epic fantasy, psychological horror and dark sensuality.

Chris: I would choose Bernard Cornwell’s Arthurian series, Excalibur.

I love the way Cornwell tells the story of Arthur from a much more human and raw perspective. It has everything: battles, loyalty, betrayal, love, friendship, honour and tragedy, but also a strong sense of atmosphere and history.

I can imagine something powerful and dark, with a strong sense of the ancient world, but still very emotional and human.

There is also so much room for the voice – from powerful, almost ritualistic moments to quieter and more intimate passages.

It would be an incredible story to sing.

Who are some of your musical influences? Do you have any recommendations?

This would be a very long list if we included everyone’s influences! We all come from slightly different musical backgrounds, which is probably one of the things that makes Killing Chic interesting.

But if I had to wrap it up and mention just a few, I would say:

Z: Creed, Queen, Eagles, Alter Bridge, Zakk Wylde, Elton John, Steve Ray Vaughan.

Fasa: Led Zeppelin, Sigur Ros, Queen, Gorgoroth, Blink 182 and Prince.

Sergio: I share few of them as well like Queen with my dear friend Brian, Duran Duran, Prince, Black Sabbath, Deep Purple, AC DC, Evanescence, as well as blues icon like Eric Clapton, BB King, John Mayer, Eric Gales and Robert Johnson.

Chris: Alice in Chains, Frank Ocean, N.E.R.D., Kendrick Lamar, Meshuggah.

As you can see, these are just a few of the artists who have influenced us in one way or another. There are obviously many more, from classic rock and hard rock to blues and other musical styles.

 

What makes Killing Chic happy and what makes you unhappy?

It’s probably a case of taking what we do seriously, but not taking ourselves too seriously.

What makes us happy is making music, playing together, laughing, experimenting and seeing an idea turn into something real. We take the music, the sound and the performance seriously because we care about what we do – but we also want to enjoy ourselves along the way.

What makes us unhappy is probably the opposite: Not being taken seriously when it comes to the music.

We don’t take ourselves too seriously as people – we like to have fun and enjoy what we do – but we take the music very seriously. We put a lot of passion, time and attention into the songwriting, the sound and the performances, so it matters to us that the music is listened to and judged on its own merits.

We can laugh about ourselves, but not about the music.

 

Feature Image Photo Credit: Supplied By Chris Hewlett PR

The self-titled Killing Chic album is due for digital release in November 2026.

Official Website: https://killingchicofficial.com/