DJ/Producer Based on Night Scene of Toronto




Nic Fanciulli has become one of the most influential artists to come out of the international dance scene in several years. With so many projects constantly in the works, Fanciulli stands out as a truly multitalented worldwide artist, with this perhaps being the key to his longevity in an increasingly fast-paced industry.
 
Fanciulli’s kept up a big Ibiza presence over the years, becoming one of the most respected figures on the island. Following on from two successful years running ‘La Familia’ at infamous 5000 capacity outdoor venue Ushuaia alongside Joris Voorn, 2016 saw Nic embark on his first solo residency at the iconic Pacha. ‘We Are The Night’ saw the likes of Guy Gerber, Sasha, Bicep, Agoria, Matthew Dear and Tiga play at the club alongside Nic. Having conquered Ibiza, We Are The Night has also held parties in Croatia, Barcelona, Miami, New York and Mexico with many more to come. Aside from Nic’s own projects, he’s a regular of all the key parties on the island. He’s been a headline guest at ANTS - Ushuaia’s flagship underground party - since its inception, and also put in appearances at respected residencies Paradise, Guy Gerber’s RUMORS, Circo Loco at DC10 and INSANE at Pacha over the last year alone. Most notably, he played a major part in the last season of one of Ibiza’s best-loved clubs, Space; firstly, playing the closing of its longest-running party, Carl Cox’s Revolution, and then proceeding to make history playing the final set at the club’s last ever closing party, in an incendiary six hour back to back session with Carl himself.

As a producer, Nic has created a plethora of solo tracks that have received huge critical acclaim including a Grammy Nomination, in addition to unleashing a heady collection of memorable remixes, including his recent rework of Jamie xx’s ‘SeeSaw’. Nic is responsible for a high output of a sleek, intelligent yet driving strain of house and techno, and is famed for his compilation CDs, having completed mixes for Renaissance, Global Underground, Balance and Defected In the House as well as an incredible three Essential Mixes; he is now gearing up for the release of his highly anticipated debut album.

Nic’s genuine desire to share music with others led to him founding what’s gone on to be one of the UK’s biggest house and techno labels, Saved Records. An important purveyor of international, underground house and techno, Saved has become a global brand, renowned for cutting-edge releases and standout events around the globe. Responsible for helping to break the careers of a diverse mix of producers, Saved Records has established Nic as a key tastemaker.

It’s this continued desire to share his experiences that also led to Nic starting up his worldwide festival brand, The Social. Beginning life as a way of bringing world-class names to Maidestone, it’s grown not only from a one day event to a three day festival, but will now also be branching out to hold parties in Mexico and Columbia for 2017 and looks set to continue growing.
 
Nic’s journey to his current status has been an entirely organic one, born out of his genuine love for the scene and a desire to share this with others. His tireless work ethic has sees him continue to tour the globe relentlessly and expanding his many projects – 2021 is set to be yet another landmark year for the artist.

The tale of Danny Tenaglia's love affair with music, and the world's subsequent romance with him, is one of the critical veins in the body of dance music. He is every dancer's secret discovery; a random purchase at the record store, a reluctant night out that unexpectedly turned magic. Explosive success came not behind a major label release, or a world tour, or a radio hit remix: It happened when enough people had the private Tenaglia experience for themselves.

The momentum started building in early '70s New York, when a barely 10-year-old Danny first got the feel of vinyl in his hands. Enthralled by the music of artists like Philly Soul's The Trammps, Motown's Marvin Gaye, African trumpeter Hugh Masekela, and disco producer Giorgio Moroder, he started to collect records, plumbing the depths of each one, and frequently finding that he preferred the B-side to the A. It was 1979 when he discovered legendary nightclub Paradise Garage, where DJ Larry Levan's rich, genre-less blend of music seemed to mirror his own "no boundaries" policy. It was here where Danny found the club model he would one day emulate: Levan's bold style, the venue's plain décor, and the party's warmth and inclusiveness.

Danny left New York in 1985 and launched a successful DJ-ing career in Miami as a resident at Cheers nightclub. There he schooled the locals in classic New York and Chicago house, but five years later he returned home, tired of only playing other people's music. He started to assemble an impressive roster of remixes, including Right Said Fred's "I'm Too Sexy" (1991), Jamiroquai's "Emergency on Planet Earth" (1993), and Madonna's "Human Nature" (1994). But his first epic was The Daou's "Surrender Yourself" (1993): With the kick in the bass and the underlying rhythm as the foundation, Tenaglia blanketed Vanessa Daou's wispy vocal with grand, thick chords, a combination of classic groove and modern club-ready depth that was, at the time, entirely new. The title of his 1995 debut artist album on New York's Tribal Records described it perfectly: Hard & Soul. But even if the cocktail was his own, Tenaglia never hesitated to declare how heavily his influences weighed in his productions - everyone from Patti LaBelle to Kraftwerk, with countless lesser-known Soul, R&B, Latin, Samba, and Disco artists in between.

In 1996, after a brief stint at New York superclub Roxy, Danny landed a Saturday night residency at white-hot Twilo, a position that upped his profile but didn't satisfy his expanding artistry as a DJ and producer. While New York swooned for big-room diva anthems, Danny was turning his ear toward the more minimal, tech-y grooves originating in European production studios. This period produced solid remixes like Grace's "Not Over Yet" (1996) and Janet Jackson's "The Pleasure Principle" (1996), but by the time he moved to Tunnel in 1998, Danny had already created "Elements," an instant classic that caused the dance scene's collective jaw to drop. With his own warped voice providing the narration, "Elements" (one track off full-length Tourism) walked the listener through the different components of a dance track in real time, going from kick to drum loop to snare hit, letting each layer over the other until the track exploded with dark, drum-heavy energy. Next to ostentatious radio anthems, its simplicity was a revelation. 

It was around this time that the murmurs started to get louder: Who is this Danny Tenaglia, and just what does he do to people? Clubbers reported seemingly inhuman mixing capabilities, booth-to-floor telepathy, and the grittiest "modern yet classic" grooves they had ever heard come out of a speaker. A trio of label compilations - Mix This Pussy (1994) and Can Your Pussy Do The Dog? (1995) for Tribal, and Gag Me With A Tune (1996) for Maxi - were the first Tenaglia sets clued-in clubbers could take home to dissect, but the release of his first installment in the UK-based Global Underground series of DJ mixes, titled Athens (2000), lit the international fire. Athens (meant to reflect the set he played at the Greek capital's club King Size) remains one of the darkest, strangest, sexiest sets ever released, and its tame cover photo of a gentle-looking man in a Yankee cap just didn't seem to fit. DJ dates across Europe dispelled the mystery and started the spread of the infectious Tenaglia fever.

Back in New York, Tenaglia was tiring of the cavernous gloom of Tunnel and longed for a weekly home that better resembled where the DJ bug first bit him - the Paradise Garage. He landed at Vinyl, a black-walled, single-environment, no-liquor club about one-quarter the size of Tunnel. He named the night "Be Yourself," after the self-affirming, heavy-bottomed vocal track he had recently recorded with Chicago's Celeda. And he took the name to heart: Without the pressure of bar minimums or an expectant crowd, Tenaglia spread his DJ wings. Next to new tracks by young producers like Rui Da Silva, Peace Division, and Saeed & Palash, he played the artists of his youth, with nary a beat dropped. If he wanted to launch into a two-hour set of straight-up techno, he did. If he wanted to play old Michael Jackson records, he did. If he wanted to get on the mic and tell the crowd the name of the sound he was about to play, or who next week's guest opening DJ would be, or just give everyone a "verbal handshake" to welcome them to the club, he did. And a city tired of drama embraced the barebones, music-centered night. 

The world caught up to Tenaglia in 2000. His annual party during Miami's Winter Music Conference outgrew its home at the cramped Groovejet and moved to just-opened superclub Space. DJ giants like Carl Cox danced on top of the speakers with the Deep Dish boys, Fatboy Slim mingled on the patio, and for a day the ego inherent to DJ culture evaporated: Tenaglia was hailed as the undisputed king, the "DJ's DJ." His roof-raising revamp of Green Velvet's "Flash" won "Best Remix" at the UK's Muzik Awards, where he was also awarded the "Best International DJ" prize. 

In the two years that followed, Tenaglia released another Global Underground installment (London); toured the world, took the party island of Ibiza by storm, remixed Billy Nichols' "Give Your Body Up To The Music" (a Garage anthem); got nominated for a Grammy (for his remix of Depeche Mode's "I Feel Loved," also nominated for Best Dance Song); returned to Twilo for two special gigs - a President's Day marathon with Carl Cox that shattered all its attendance records, and the club's sixth anniversary party with John Digweed, which turned out to be even more meaningful than it seemed at the time (Twilo was shut down permanently a week later); graced the cover of every major dance music magazine; and won a Dancestar Lifetime Achievement award... all while keeping Be Yourself buzzing every Friday. 

In 2003, Danny came full circle with the release of Choice: A Collection Of Classics, a two-CD mixed compilation that let him pay direct tribute to many of the artists who had influenced his sound and style. It featured everyone from Blaze to Adeva to Imagination, as well as hefty liner notes explaining the significance of each track, penned by the man himself. He also remixed another Garage classic (Yoko Ono's "Walking On Thin Ice," which became her first Billboard number one ever), opened another Space during Winter Music Conference (the new location down the block), and took another Dancestar award, this time "Best Party" for Be Yourself. 

Be Yourself took the same honor again in 2004, but this time the win was bittersweet. At the time of the ceremony, Vinyl, now called Arc, had already been sold to developers. Danny closed the classic club on Sunday, April 25, 2004, with an emotional set that lasted well into Monday afternoon, and culminated with his mix of Kings Of Tomorrow's paean to unending love, "Finally."

And as in every year since his DJ odyssey began, all across the globe, from Acapulco to Tokyo, more people experienced their first night with Danny Tenaglia, that clubber rite-of-passage that forever changes how you listen to music, go out to nightclubs, and think about DJs. 


DJ • Remixer • Producer
The Bunker New York, Interdimensional Transmissions

For bookings, please contact:
North America: michelle@thebunkerny.com
EU + rest of world: mike@berytus.art

MANAGEMENT
phil@threesixzero.com
mm@threesixzero.com

BOOKING
WW (excl. North & South America): 
dave.blackgrove@teamwass.com
North & South America: 
bshprits@teamwass.com

Booking & Mgmt Requests : stephen@deepbloe.com


French producer Watermät has been one of the breakthrough house music stars of the last few years and a key part of the wildly successful Spinnin’ Records roster. Taking a refreshing approach to the genre that blends unconventional sounds with the more familiar, he’s won fans far and wide, including a key supporter in Pete Tong.

The arrival of Watermät followed a decade of Arriau building up his skills and producing music for other artists. “I have never done anything else other than produce music and I never worked anywhere else” he explains. “Since I was 18, I’ve been doing music. If I wasn’t making music I would probably be a science guy working in a laboratory.” Growing up on a diet of hip-hop and house music which both enjoyed a golden age in France at the time, he soon discovered deeper shades of house and techno. 

After having honed his craft so long in private, he decided to step out the shadows of others and into his very own spotlight. Not even he was expecting quite how well things went so very quickly. After the lush sounds and intricate melodies of his 2013 debut Sparks, Spinnin’ snapped him up to begin a long and successful relationship with him. His first release on the label, the joyous Bullit in early 2014, was a huge hit at Miami Music Week, reached the DMC Buzz Chart #1 spot and was chosen by Pete Tong as his Essential New Tune. 

Many wouldn't be able to live up to the pressure of this initial success, but he took it well in his stride, following up with a remix for Years & Years, the fist-pumping piano banger All My Love with TAI and Rudimental collaborator Becky Hill and the rolling techy bruiser that was Portland with Moguai. More recently Spherik brought a summery vibe to the table while Empire indulged a little of his love for French house sounds. 

He takes a quality-not-quantity approach, choosing to release only his finest material rather than putting music out for the sake of it. It’s certainly been reaping rewards, with millions of plays and downloads for his tracks, and sets everywhere from Tomorrowland to Amnesia Ibiza amongst an incredibly busy DJ diary.

Despite all this success, he remains a truly grounded person who has his priorities in order and is doing this for all the right reasons. “I don’t have really high expectations. I’m so grateful for all the love and support I’m getting. I like making the music that I like and want to make. Let’s see what happens. If I can play at huge festivals around the world, it’s great. If not, no problem—I will keep on playing my music.”

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