Nic Fanciulli :: Yawn ~ DancefloorResolutions.blogspot.com

Monday, April 6, 2009

Nic Fanciulli :: Yawn

From being a shy, talented DJ playing his trade as resident at his local club, to becoming a global superstar, the rise and rise of Nic Fanciulli has been well documented. He has graced countless covers of the most respected dance publications whilst his name repeatedly pops up when clubbers discuss the finest DJ talent in recent years. Nic joined the music world at 16, where he worked in the local record shop and DJ?d in the local bars, in his hometown of Maidstone, Kent. It was here that he earned his first proper break courtesy of the town's house institution ClubClass. Aged just twenty Nic became main room resident for the night he remains fully committed to. Nic?s ClubClass residency would form the launch pad for his future success.

Nic welcomed many legendary names to the night such as Deep Dish, Pete Tong, John Digweed and X-Press 2, all of whom were blown away his use of deep techy sounds, acid b-lines and dark melodic grooves. The residency also gave Nic the opportunity to play at different times of the night, allowing him to develop his own sound as well as develop a tremendous understanding of what is expected from a DJ.Fast forward to 2006 and Nic boasts a portfolio of residencies across the globe that is both testament to his talent and versatility. Starting in the USA, Nic previously held a quarterly resident at Space in Miami, undoubtedly one of the finest nightclubs on the planet. With one Space in the bag, another comes in the form of that legendary terrace in Ibiza for which Nic now plays nearly every Sunday in the summer. This resulted in the headline ?Terrace Kings? which Nic achieved alongside Paul Woolford on their DJ Magazine cover story in August 2006. He also held a residency at the magnificent Il Muretto in Venice and finally back to Britain, where Nic has been responsible for ClubClass developing from a provincial club event, to one of the UK?s finest and most influential house nights. ClubClass then went to the Ministry Of Sound in London, which has given Nic an excellent platform in which to showcase his music, as well as the opportunity to play alongside the likes of Danny Tenaglia, Rolando and Funk D? Void. March 2008 sees Nic starting a brand new night called Atomic at the esteemed club The End in London. Nic is in good company, The End?s has fellow resident holders include Laurent Garnier and Sven Vath.

Nic's production and remix work alongside Andy Chatterley, under Skylark and its bastard son Buick Project, has proved fundamental in pushing him through as both an artist and DJ. Essential new tune status is a regular occurrence for Nic?s productions and he has been called upon to remix a plethora of acts including Underworld, Tiefschwarz, Unkle, Kylie and Deep Dish. Critical acclaim doesn?t get much better than a Grammy nomination and exactly what they got in 2007 when Buick Project was nominated for their remix of Tracey Thorn/Tiefschwarz track ?Damage?. Add this to successful releases for Renaissance and it?s clear that Nic enjoys a very busy studio schedule. Working with Renaissance has now become common place for Nic after he followed the likes of Sasha, Digweed and Deep Dish, by releasing a compilation on their legendary series in 2005. The mix received huge props from journalists and clubbers alike, was backed by a thirty date world tour and sold thousands worldwide. Another string to Nic?s impeccable bow comes in the form of Saved Records which launched in October 2004. Widely regarded as one of the leading cutting edge labels on the scene, Saved has gone on to release compositions from both established producers such as Zoo Brazil, Paolo Mojo and Audiofly, to up and coming talent such as James Talk and Shafunkers, with remixes being delivered from the likes of Alex Smoke and Paul Woolford.

There is such an untapped pool of talent across the world at the moment that I want to help the new kids coming through get the recognition their music rightly deserves says Nic. 2007 saw Nic join forces with James Zabiela for their One+One alliance, causing something of a press frenzy they toured across the globe, made some original productions in the form of ?No Pressure? and ?Rover? and released a double CD. Wasting no time Nic then went back in the studio with Skylark partner Andy and the result was their first artist album; ?I-Panik? was released in November of 2007 with a full remix package coming in Spring 2008. The likes of Laurent Garnier praised the album and the press were blown away ? citing it as an intelligent piece of electronica. The remix package sees contributions from acts as diverse as Joris Voorn, Funk Dvoid, Joel Mull, and many others. With a list of achievements that already overshadows many DJs ten years his senior, its clear that Nic Fanciulli has proven how combining genuine talent with dedication can go a long way. And whilst his record label, residencies, productions and compilations continue to open the ears of thousands of people across the planet, the fact he has a whole host of future projects up his sleeve reveals the best is still to come?

Electronic Music

Is music that employs electronic musical instruments and electronic music technology in its production. In general a distinction can be made between sound produced using electromechanical means and that produced using electronic technology.Examples of electromechanical sound producing devices include the telharmonium, Hammond organ, and the electric guitar. Purely electronic sound production can be achieved using devices such as the Theremin, sound synthesizer, and computer.

Electronic music was once associated almost exclusively with Western art music but from the late 1960s on the availability of affordable music technology meant that music produced using electronic means became increasingly common in the popular domain.

Electronic dance music is a broad set of percussive music genres that largely inherit from 1970s disco music and, to some extent, the experimental pop music of Kraftwerk. Such music was originally borne of and popularized via regional nightclub scenes in the 1980s. By the early 1990s, the presence of electronic dance music in contemporary culture was noted widely and its role in society began to be explored in published historical, cultural and social science academic studies.It is constructed by means of electronic instruments such as synthesizers, drum machines and sequencers, and generally emphasizes the unique sounds of those instruments, even when mimicking traditional acoustic instrumentation. It sometimes encompasses music not primarily meant for dancing, but derived from the dance-oriented styles.

Today electronic music includes many varieties and ranges from experimental art music to popular forms such as electronic dance music.

Deep House Music

Deep house music is a style of house music which fuses elements of Chicago house, disco, 80's soul, jazz-funk and Detroit techno. The Jazz influences of deep house are most frequently brought out by chords using more complex than simple triads (7ths, 9ths, 13ths, suspensions, alterations) which are held for many bars, which give the tracks a slightly dissonant feel. The Disco music sound is a heavy influence in Deep House. The use of vocals is also more common in deep house than in many other forms of house music.

Techno Music

Techno music is a form of electronic dance music (EDM) that emerged in Detroit, Michigan, USA during the mid to late 1980s. The first recorded use of the word techno, in reference to a genre of music, was in 1988. Many styles of techno now exist, but Detroit techno is seen as the foundation upon which a number of subgenres have been built.

The initial take on techno arose from the melding of synthesizer-based music with various African American styles such as Chicago house, funk, electro, and electric jazz. Added to this was the influence of futuristic and fictional themes that were relevant to life in American late capitalist society—particularly the book The Third Wave by Alvin Toffler. Pioneering producer Juan Atkins cites Toffler's phrase "techno rebels" as inspiring him to use the word to describe the musical style he helped to create. This unique blend of influences aligns techno with the aesthetic referred to as afrofuturism.

To producers such as Derrick May, the transference of spirit from the body to the machine is often a central preoccupation; essentially an expression of technological spirituality. In this manner: "techno dance music defeats what Adorno saw as the alienating effect of mechanisation on the modern consciousness".

Music journalists and fans of techno are generally selective in their use of the term; so a clear distinction can be made between sometimes related but often qualitatively different styles, such as tech house and trance. "Techno" is also commonly confused with generalized descriptors, such as electronic music and dance music.

Minimal Techno Music

Minimal techno music is a form of dance music (EDM) that is considered a minimalist subgenre of techno. It is characterized by a stripped-down aesthetic that exploits the use of repetition, and understated development. This style of dance music production generally adheres to the motto less is more; a principle that has been previously utilized, to great effect, in architecture, design, visual art, and Western art music. The tradition of minimalist aesthetics in Western culture can be traced to the German Bauhaus movement (1919 to 1933). Minimal techno is thought to have been originally developed in the early 1990s by Detroit based producers Robert Hood and Daniel Bell.

Monday, April 6, 2009