Grammy-nominated producer/DJ Nic Fanciulli about “ludicrous” iTunes rules, Ibiza and what makes him dance

fancuiulli_HI_Res_image_t270What’s it like being chosen as the first contributor for Global Underground’s newest DJ series (released April 27) and the difference between disk one and two?

It was great, especially [since] I was such a fan of [Global Underground] when I was growing up. … I tried to put across what I’m about musically as a DJ onto these CDs. Because I have such a wide range of music, it was always going to be hard to get it onto two CDs. With CD 1, I tried to get that non-disposable feel, as music has such a quick shelf life these days. I tried to balance it out with records that you could listen to again and again. CD 2 was a follow-on from CD 1 in the sense that this is what I would play if people came to see me at a regular two-hour club show.

How long did the album take to put together and what was your process?

The whole album start to finish took about six months. I started picking tracks and mixing them live to see what worked and what didn’t. I also went away and wrote new material for the album. I’m really fussy when it comes to mix CDs, so I must have gone through each mix a million times.

The CD was created in Traktor, then edited in [Ableton] Live.

Were there any tracks you wanted to use for the mix, but couldn’t because of increased issues with licensing?

The selection process has got a lot harder, especially if you want to use new music. There is this ludicrous rule with iTunes than means that 85 percent of the tracks have to be available for single download. Labels aren’t going to give up exclusive records to you and release them early, so it makes the process very difficult.

What’s the difference between your work as Nic Fanciulli as opposed to Skylark and Buick Project?I’m concentrating a lot more on my Nic Fanciulli Productions. I’ve just finished singles for Ovum, SCI +TEC and my own label, Saved, which should be coming out over the summer.

Your music seems a bit more down tempo and chill than what Vegas is used to in nightclubs. What kind of set can we expect at Body English for Godskitchen?

If you listen to the CD, [it] is mainly house music. I always have a great time in Vegas, and people seem to stick with what I’m playing. I think if you have a good sound system, most people can be manipulated into liking good music.

Summer in Ibiza is fast approaching. What are your plans this year? What do you think of movements to change the island’s image away from being known as a clubbing destination?

I’ll be in Ibiza again this year. I’m doing five dates for We Love at Space and also playing one off shows for Carl Cox and Pete Tong. The island attracts a great deal of people that want to have fun and lose themselves in the music. The one thing is the clubs have got to be careful and not overprice themselves from the normal clubbers.

How do you balance DJing and touring verses producing?

I wish it were half and half. My regular week consists of going to the studio everyday, then playing at the weekends. If I’m on tour I work on my laptop then come home and finish everything off.

As an avid clubgoer, what type of tracks are you absolutely sick of and why?

I hate old records that have been turned into electro records—you know, great classic tracks that people sample then think it’s cool to kick into this big electro bass line. Kind of stuff you here on most festival main stages.

What would you like to hear more of in clubs?

I love all types of music along as it’s got a groove. It could be anything from DnB, jazz, techno, all the way through to soulful house. As long as it’s made well and with a great groove, I’ll dance to it. I’m actually listening to a lot of old 4hero stuff at the moment. These guys were amazing and the remix of Nuyorican Soul [“I Am The Black Gold Of The Sun”] was probably one of the best remixes to date.

(Originally published in Las Vegas Weekly and at

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