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PART TWO

Picking up where we left off with the Euro trip, Abi and I progressed onto Amsterdam whilst Liv left Berlin for Turkey. 

Arriving in the Dam, we went to meet our friend Lizzie who had been on a 16 hour bus journey from Liverpool to join us, before attempting to find our hotel. After weeks of hostels, shitty 2 star pits and flimsy mattresses it was assumed the final 4* star complex would be a blessed luxury. After getting my card declined on various occasions that day, I managed to contact my bank in England for them to tell me I had no money left. It turns out the Fletcher Hotel in Amsterdam, which we hadn’t even checked in at this point, had taken a whopping €450 out of my bank when the agreed price was €280. Bit of a smack in the face when you have 4 days remaining abroad and no money whatsoever, the woman on the front desk enlightened me on the matter and told me that the charge was a ‘deposit’ on the room that I would receive when checking out. Brilliant! Thankyou! Take all my money without fucking telling me! That’s what I call a business! My options for funds were either to ring my mother or get a job in the red light district. Prostitution would’ve been the easier option.

The plan for that weekend was to chill out, relax, smoke and eat a lot of falafels. This being my third time in Amsterdam, there’s only so much you can do. On previous trips I’ve been to Trouw, Studio 80 and Chicago Social Club which are definite must do’s when you’re there, this time we had Voltt Loves Summer Festival planned so we didn’t want to hammer it too much after the disaster of becoming bedridden in Berlin. The last time I was in Amsterdam I traveled with vegetarian, animal loving feminists that wouldn’t allow me to visit a sex show; so this time with two creeps like Abi and Lizzie the motto was anything goes.

We made it into the red light district that night and the first sex show we came across was Casa Rosso, a large black building by the canal that was illuminated with a pink dancing elephant. €50 for an hours worth of live sex and two drinks seemed pretty good, and we spent our last remaining pennies on entry. Walking in with an open mind and a vodka diet coke in each hand, were met by a couple literally fucking on a rotating bed whilst Miss Dynamite blasted out the speakers. Each ‘set’ took about 10 minutes and went on in a continuous cycle. Next up was a lesbian act, then a woman who looked so fucked she could barely stand upright began to smoke a cigar out of her vagina. The couple acts were pretty timid aside from the occasional whip and chain. Although someone popped some rather long anal beads out at one point. My favourite act was a single woman dressed in blue sequins who grasped the audience with her sexy wiggles and gyrating moves against the poles, she looked mid 40s and asif she had had a child. Sitting on the back row, I thought I was safe when she came out into the audience to look for someone to get up on stage, but as she kept on smiling and trying to grab people she was getting closer and closer to me.

By the time she reached my seat, I had an inch left of my fourth drink. Staring into my eyes with a massive yellowy grin on her face; I thought, fuck it. I’m on holiday. I got up, downed my drink, dropped the glass which then smashed everywhere and followed her onto the stage. My friend Abi followed and an Australian guy from the row next to us joined. She made us stand on the stage in and row and take turns to dance with her, Abi went first then the Aussie (I do love an Aussie). It came to my turn and I realised what I was actually doing, I thought to myself; this can go one of two ways. I can be really awkward and embarrass myself some more, or I can have some fun and actually enjoy the experience. She started trying to spin me around before I stopped and thought, bitch no we’re doing this my way. I stamped my foot on the ground, crouched down low, placed one palm by my knee and smacked the other repeatedly whilst shouting “THROWING THE HUNDREDSSSSSSS”. The woman stared at me in disbelief, before laughing and shouting “YES BEAUTIFUL GIRL BEAUTIFUL GIRL”. She then turned me around before ripping my coat off, squeezing my chest, smacking my arse and grinding on me like I was a set of teeth in Circus. This woman is old enough to be my mother. This woman is probably a similar age to my mother. What would my mother think. The four of us joined together to start a congo and began to dance around the stage, I could hear the audience laugh so I turned around to see Abi was screaming and getting attacked by a guy in a gorilla suit with a massive black dildo attached to him. The woman then whipped her pants off, lay on the floor and stuck a banana between her legs. As you can only imagine I’m being polite with this and it was wedged right in there. In there. She made us all take a turn to bite a bit off, and yes I did it. Twice. Atleast I got a round of applause though.

A video was taken. It was sent to my mum. It was put on the internet. These things happen.

After the excitement of Casa Rosso, we were in preparation mode for Voltt and adamant not to let our bodies fail us once again. Voltt was at NDSM docklands on the Saturday, starting at 11am and finishing at 11pm with free boat transport taking us fron Central. The lineup promised Richie Hawtin, Sven Vath, Dixon, Joseph Capriati, tINI, Gui Boratto, Dusky and more; for a mouth watering £35. We were the only English people there aside some lads we met from London and we joined groups for the rest of the weekend. The festival itself was incredible, the stages were large open spaces with the basic necessities, none of the boutique shit British festivals insist on having. Bars were token operated and you could buy 10 tokens for €13, a single vodka was 3 tokens. It wasn’t that expensive, the people were lovely and there was a man walking around taking polaroid photos for 1.5 tokens. I spent the majority of the day at the main stage, with tINI continuing into Richie Hawtin and Sven Vath with Capriati closing. Voltt is definitely something I’ll be returning to next year and the collision with the Creamfields weekend is no bother to me, I’d rather pay £35 for a great day and £200 odd for the weekend in Amsterdam over a £250 VIP Cream camping ticket in the mud.

Til next year…

By Louisa Newton

PART ONE

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The sun shined through my blinds and the birds sang in chorus as I emerged from my pit at a devastating 7am. Distant memories of the night before involved a final shift at work, a few too many bevvies and a joint that finished me off. The taxi ride home remains hazy but I can remember a co-worker telling me not to fall asleep and the taxi driver congratulating me for making it through the journey. 

On any other day I would slither back under the covers, but alas today was the day that 3 months of working two full time jobs finally became worth it. Throwing whatever clothes I could find into my suitcase, it soon became apparently that a single hand luggage bag wasn’t necessarily enough for 16 days in Europe. My friends Liv and Abi shortly arrived and we made our way to the airport for our first flight.

Arriving in Barcelona that evening, we began our struggle to find the hostel. After an hour of walking from block to block searching for a Metro station/our hostel/someone who could speak English, we somehow arrived at Hostel Layetana. Being sceptical about the lift which resembled something out of Titanic, I decided lugging myself and my suitcase up the 60 steps to the lobby. This was obviously a bad idea as I am incredibly unfit and needed a time out between floors with plenty of water breaks. 

Using my last remaining breaths to slither up to the desk, we then had to stand and watch the receptionist as he recounted our money over and over again before accepting that we were right. As I watched him recount the money, resulting in a different number each time, I felt my hand tremble on the desk as I resisted the urge to bitch slap him, take the keys and lock myself in the room. It took 7 attempts for him to count the money, before handing us the key and leading the way to our palace. Waiting for us at the end of the corridor was our home for the next week, a single room with 3 camp beds, a wardrobe and a sink. Although we had low expectations initially, the blow of encountering what we had paid to sleep in almost knocked me off the balcony. It was hard to engage in a conversation within the room as the traffic was that loud, we had no safe, we only had warm water in the sink, we had a total of 2 plug sockets in the entire room and we struggled to share 4 hangers between the 3 of us. This was ok though, we can deal with this. Atleast we had a lovely canvas of a flower hanging above the crisp off-yellow sheets on our beds. Opening the doors onto our balcony, a patio area big enough for one person to stand on, you can only imagine how I felt as my heart violently fell from the 6th floor and painted the street once I noticed the 5* hotel directly opposite.

Moral was even lower after discovering the wifi didn’t work in our room, forcing us to venture into the living room and congregate with other guests. The day couldn’t have got any worse, we decided to cut our losses and get an early night in preparation for Picnik Electronik in the morning. About to call it a night, a voice appeared from the darkness and here we saw a rare novelty in England… an Aussie. We joined him, his brother and their friend in their room which was admittedly a lot worse than ours, with 3 litres of vodka and the aim to see how hammered you could get. On a whim, we bought tickets on Resident Advisor for the FACT pool party at L’Atlantida with Reboot and Ten Walls merely minutes before it started. By the time we made it out, I was far too gone to realise we had also brought along the hostel receptionist with us. I lasted an hour before returning home, waking up on the other side of the building with an Amnesia Ibiza cup in my hand. Making it back to my room, I was met by a collection of bodies and an A4 makeshift sign that had “If found, return me to Hostel Layetana” scribbled on it.

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Whilst our Australian conspirators made a frantic rush to make their flight to Portugal, we lay in the sweaty remains of our room after turning down the offer to join. Picnik Electronik was a miss. Finally surfacing from the ruins of the previous night, we began to materialise some stammer and prepare ourselves for the Sunday night spent at Razzmatazz. RA claimed it was one of the best clubs in Barcelona, and a night of local techno talent seemed promising. We already knew it would be hard to outdo the previous 24 hours as the mixture of holiday excitement with spontaneous plans and hilarious company was impossible to forget. All of us knowing we should’ve got that flight to Portugal, we made it to Razzmatazz looking for a continuation of the night before. 

Advanced tickets were taken off the RA website so we paid €20 on the door after being greeted by a drag queen and two dwarfs with whips. Having been told that Razzmatazz had up to 5 rooms going on at the same time, I was pretty disappointed to walk into a warehouse like building at 1am completely empty. We went to the smoking area to hide for an hour before giving it a second chance, finding an underground unisex toilet space with a DJ playing on the way. The slap of €9 per single vodka on a budget was softened when I realised a good 80% of my cup was pure alcohol. This however didn’t stop me from managing four before sitting in a corner trying to stop myself from falling asleep, after forcing my friends to come out when they didn’t want to; you can only imagine how annoyed they were that I wanted to go home. So what do I do, how do I sober up? The club has a vending machine on the fucking dancefloor. Liv read my options for a 3am sandwich which were cheese, cheese, cheese or cheese. After deliberating the wide variety of flavours, I chose cheese.

It was tuna mayo. I went for a second, instructing Liv to carefully read the packaging this time. My options this time were cheese, cheese, cheese or cheese. I chose cheese once again hoping for a classic cheddar on white bread, only to be faced with the disappointment of a second tuna mayo filling. I couldn’t bare the third blow of another tuna mayo sandwich so I took myself home, making the error of shouting “TAXAAAAAAAY” outside the club and being met by a group of  Indian men whom all claimed to be taxi drivers. One took me by the arm and guided me round the block onto the next road, we walked for a while as he began to stroke my hair and whisper that the taxi was coming. Either the collective four slices of bread, tin of tuna and packet of crisps had soaked up some of the alcohol or my auto pilot had switched on, I realised what was going on and ran back to the club. By ran, I mean I power walked back (I am very good at power walking) to the club to find a real taxi that wouldn’t end in my corpse making the front page news. 

I remember getting in a real taxi. I do not however remember getting to the hostel, speaking to the receptionist or making it up the 60 stairs. That afternoon I woke up fully clothed in my bed, only to be informed that some sort of adult party went on around me as I slept. If this wasn’t enough, I was also shown photos of myself innocently sleeping amidst the debauchery surrounding me.

The reality of overspending on the first two nights sunk in and we remembered that we had to do this thing called budgeting seeing as we had 3 more countries to experience before we returned home. I feel we got there at the wrong time really, for our week there the agenda on RA was limited and we didn’t see a better lineup than the first Saturday at L’Atlantida. If we had stayed the following week, we could have seen Luciano, Marco Carola, tINI, Loco Dice and M.A.N.D.Y during various trips to L’Atlantida, Nitsa, Razzmatazz and Elrow. We spent the rest of the week seeing a lot of Gaudi, eating a lot of tapas and walking everywhere before spending our last night at the rooftop bar of the Grand Central Hotel opposite us. 

It became apparent during this week that I should definitely not pack stoned in future, as I filled my suitcase with a Gucci bag I was too scared to use, a book I was 10 pages from finishing, plus 3 pairs of sunglasses and 4 pairs of shoes I didn’t wear once. I did however get much use of out the only tshirt I packed. Louisa, for future reference all you need is basic tshirts and shorts, don’t kid yourself with a dress for every night of the week. The plan for the last night was to have a nice meal, have a nap then return to Razzmatazz for a second time. We returned to the hotel after dinner and didn’t wake up.

The flight to Venice was short and simple, we paid €6 for a bus that would take us to Mestre and the driver told us when to get off. Paying little attention to our surroundings, we found ourselves in no-man’s land. A deserted Italian village with nothing other than ice cream shops and a cafe. The hotel was nowhere in sight and on the rare occasion we saw a human being in the street, they either spoke Italian or Catalan and didn’t understand a thing we were saying. We found a woman in a cafe that directed us to the hotel with a concerning look on her face, which I didn’t understand until I saw our hotel much later. The receptionist resembled an underage Barbie doll and the language barrier was difficult to keep patient with, the hotel looked like it had been decorated by a housewife in the 1960s and hasn’t changed since. Sitting in our silent mint green room, we all agreed that hostels were definitely the way to go. My heart sank as we explored Mestre that night and found we were the only tourists in the entire village, we couldn’t sleep without the soothing lullaby of Barcelona traffic and it felt wrong to have the air conditioning on after a week of sleeping in sheer humidity. The only upside was that we finally had our own bathroom and didn’t have to share with 40 other backpackers who liked to soak the floor or hide the toilet roll. The hair dryer resembled an elephant’s trunk and average drying time for a chunk of hair was over 40 minutes. 

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Italy was the calm before the storm, we spent two nights in Mestre and a full day in Venice. It was too hot, too expensive and too much effort to actually get up and do things so we spent the majority of our time watching Italian MTV and eating Milka cakes. Time well spent. 

Two days of isolation was enough and we embarked on our journey to Berlin with high hopes. As Liv was only staying with us for the first two nights whilst Abi and I were staying for five, we booked two hotels for the trip. The first being the Meininger hotel in Central (Hauptbahnhof station) gave us the impression that we’d be staying in the centre of Berlin. Couldn’t have been any more wrong. Berlin being a large city, has 12 districts rather than a main area. It took us a while to deceiver the difference between the S-Bahn and Underground trains, trying to figure out where to go and what to do. 

We made the usual tourist rookie mistake of attempting Berghain. We knew we wouldn’t get in, but it was worth a try anyway. We left the hotel at 1am and got the train to Ostbahnhof and waited 2 hours in the queue outside. We wore black, we didn’t speak English, we didn’t draw attention to ourselves and I certainly didn’t make a noise when the arctic weather conditions started to make my legs quiver. The people we saw go in had shaved heads, platform boots and capes on in August. They all looked fucking morbid, pretentious and downright weird. We met an Italian guy called Pablo in the queue that moved to Berlin two months ago, he said he had only ever got in at stupid times like 11am on a Sunday morning or 4pm in the afternoon. He also said the last time he was in there he walked in on six lads having an orgy so maybe it’s a good thing we didn’t get in. We got a taxi to Watergate where we waited for another hour before being told by the girl on the door we were “too young”. She said we had to be 21, and that Abi could go in but Liv and I couldn’t. We are all 19 and born within six months of each other so that makes no sense whatsoever. 

It was reaching 4am and I had done nothing but wait in the freezing cold and get fucked around by Germans. We were told to go to a club called Chalet round the corner, by this point I was more than happy to get a falafel and go home. I had already decided that I hated Berlin, I hated wankers and I hated myself for even bothering. A slice of pizza later and we had regained some energy, yet stone cold sober by this point. We found Chalet, a 150 year old mansion next door to a Shell garage in Kreuzberg and waited for another fucking hour in the cold. This time we met a guy from Brighton, his Swiss friend from university and their two French friends plus three Italian girls. We passed the time with exchanging the translation of swear words in different languages. It was incredibly cultural. We were told your odds of getting into a good club in Berlin are dramatically improved if you’re with someone that can actually speak German. Luckily for us one of the French guys was fluent and the 10 of us got into Chalet no problem. 

I don’t know how to describe Chalet other than a cesspit in which the dregs of society come to congregate, it’s pretty incredible though. Ian Pooley had just started playing as we walked in, I paid a tenner to get in and the last set was starting at 8am. Five minutes in and I was already having one of the best experiences ever. The place is a fully kitted mansion with sofas, wallpaper, chandeliers and a piano; except they’ve shoved a bar, some decks and a load of fucked Germans in there. It didn’t matter that I was sober, I was having so much fun in here it became regardless. The party was still in full swing at 8am and packed from wall to wall, I poked my head outside to the garden to find a bonfire, another setup of decks, a treehouse and a horse and carriage. We sat below the apple tree trying to wake Liv up, when Abi bumped into a girl she had met earlier. She told us to forget about Berghain as we looked too clean for it, people get in when they’ve literally rolled out of bed at 9am and ridden their bikes there. Sitting there in a dress I’d previously wore twice in Barcelona plus passed out in with a black shirt we had all shared during the week and unwashed hair; I couldn’t be any less clean. The trains run 24 hours on a weekend so we called it a night at 9am and tried to find the nearest station. Sleep deprivation, hypothermia and alcohol meant we were all useless, blind and irritable. I didn’t want to leave, Liv wanted to sleep and Abi was floating around in a stolen jacket. We made it back for 10am, closed the curtains and slept. Or atleast, tried to. I was up at 12 ready to leg it back to Berghain in different clothes, attempting to wake the beasts in the bunk beds below me (10/10 to me for not falling out of the top bunk). Nobody wanted to get up so I spent the day sat watching the window in silence.

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That night we went to Weekend Club, an open air rooftop party by Alexanderplatz. The Independent named this as one of the top 10 places to visit in Berlin so we thought we’d give it a go, the parties usually start from 6pm so we turned up at 12 thinking things would be in full swing. This however was wrong, and on colder nights they don’t start until midnight, which meant we were the first in there. Feeling unnecessarily embarrassed and catching onto the dejavu, we once again retreated to the smoking area until the place filled up. The rooftop terrace is gorgeous, covered in fairy lights with tall panels of glass protecting you from jumping off the 15th floor and green ivy growing up the walls it’s certainly not something you’d expect to see in England. We were sat at the bar inside when one of my friends pointed out a guy in the crowd and commented on how much like Tom Daley he looked. After watching him for a while and trying to figure out whether he was just another German or the real thing, he started to grope the lad next to him. Definitely Tom Daley. Abi and Liv went over and got a photo, I shuddered back into the shadows of the bar. When Tom Daley is in the same club as you, you know it’s time to leave.

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Conducting a swift check of RA to see what else was on to find Chalet was open, it was time to move the party elsewhere. Having picked up more Australians once again, we made it back down to my favourite club and got involved with the 12pm-12am event they had going on. It was a lot more enjoyable this time and I seemed to have picked up an Australian firefighter who doubled up as my bodyguard meaning I could bust out the creepy salsa dance moves and not attract any unwanted attention. I also realised he was wearing a silver bodywarmer which made me die a little inside, this was as far as our friendship was going. 

It approached 9am and with checkout of our hotel at 11am it seemed a reasonable time to retreat. Liv was leaving that afternoon to go home, whilst Abi and I would stay out in Berlin before going onto Amsterdam. We went back to the room where once again I would sit in bed and stare at the window for hours on end waiting for the others to wake up, Berlin had literally chewed me up and spat me out and I was loving every minute of it.

To be continued…

By Louisa Newton

We’ve taken a Summer hiatus if you haven’t already guessed, but we’ll be back in September bigger than ever with a move to London on the horizon and talks of what went down with SWITCHED this summer in Barcelona, Ibiza, Berlin, Amsterdam, London and last but not least, Liverpool. See you soon!

Benjy and Louisa

Several shots around the City of Liverpool using a minimalist approach. All photographs taken on iPhone5S on the go. 

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Friday 15th August sees the Rubix lads jetting off to Ibiza to throw their very first RUBIX party over there! The party will be kicking off from 11pm til 5am and is a FREE workers party on the sunset strip, in the back room clubbing space of Cafe Savannah.
Headling the event is none other than Hungarian-born, London-based Reelow whose speciality is ‘churning prowling bass lines and indelible riffs into dance floor shaking hits’. Since entering the tech house underground scene in 2011, Reelow’s success has seen him develop into a household name in Budapest and launched him behind the decks on some of the biggest stages in the world, including Ministry of Sound, Sankeys, Pacha and Liverpool’s iconic Garage. Also up are residents Tom Buck, Phil Fearon,  Dom Townsend and Lee Charnock.
Speaking to Shaun O’Donnell about the upcoming event, he told us “As the majority of us involved with Rubix have all been Ibiza workers at some point, we came up with the idea of doing something a bit different,wereby we could offer workers the chance to come to a party with a decent headliner, without paying the huge entry fee’s of the clubs. Our resident DJ Tom Buck is currently completing his 4th summer out there, and has been the driving force behind securing the event. There is some talk about doing a series of workers parties over there either towards the back end of this season, or next year, which would be great! All depending on the success of this one of course…
If you’re in Ibiza this weekend get yourselves down to Cafe Savannah in San Antonio for an un-missible event.

Since it’s launch in March this year, MODU:LAR has already begun to take the Liverpool underground scene by storm with a growing back catalogue of consistently impressive parties. Welcoming a whole range of acts from the raw up-and-comers to the nostalgic veterans, it’s no surprise MODU:LAR is back for more with another event lined up at one of the cities most iconic spaces, The Magnet basement. Hitting off the first event in the Winter 2014/2015 cycle, this time they welcome ‘Father and Sons’ label boss Julian Perez and rising UK star Jack Wickham. 

From Fuse London to Panorama Bar in Berlin, Julian Perez has become a name associated with some of the biggest and best parties around Europe over the last few years, bringing with him his taste for minimalistic techno around the underground world. Developing his early DJing and production style from influential 90s Chicago and Detroit house music, he has since grown into an artist whom has worked with labels ranging from Low Pitch, Two.Birds, Steve Lawler’s VIVa MUSiC and Luciano’s Cadenza, with an upcoming release on on Sven Vath’s Cocoon Recordings. This summer you can catch Julian all over Europe, based heavily in Ibiza with a series of regular dates playing for tINI & the Gang, Fuse at Sankeys and Richie Hawtin’s Enter at Space. After starting his own vinyl label Father & Sons Productions, it wasn’t long before the imprint had seen exposure from Ricardo Villalobos, Radio Slave, Carl Cox and a:rpia:r. With each release selling out in its first week, it’s clear to see why Julian Perez is a name in demand, coupling his signature style of groovy techno with undulating base lines and silky mixing skills.

Still in the infancy of his professional career, Jack Wickham is already well on his way to becoming one of the UK’s most well-established artists. Implementing his name into the industry at an accelerated rate, he’s already played debuts at Fabric and Berlin’s Watergate aged just 20. Firmly fitted within Adam Shelton and Subb-an’s ‘One Records’ crew and releasing on a variety of highly admired labels such as Moscow Records, Earlydub Rec and Drumma, Jack means business and plans for his own imprint and a move to Berlin are already in full swing. Keeping an open mind towards technical approach, his style stems across House, Deep House and Deep Techno, taking influence from his deep musical passion and respect for like-minded artists.

MODU:LAR takes place on the 6th September 2014 at the Magnet Basement in Liverpool with headliners alongside residents Scott Grant b2b D.E.B. Advanced tickets £10/£12 available from Skiddle and RA.

By Louisa Newton

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One of the modern electronic music industry’s most forward thinking and innovative artists, Mark Fanciulli has allowed his adroitness and proficiency behind the decks to do the talking for him. With his older brother Nic heavily established within the music industry, it was only a matter of time before Mark made his entrée and since his debut in 2011 with “The Tide” on Joris Voorn’s Rejected imprint, which was undoubtably the biggest summer track of the year, Mark has been consistent within his high quality and masterly releases. Each release is idiosyncratic to Mark’s individual style and taste, with his ingenious productions ultimately being the logic behind his catapulting to fame.

The 21st June sees the return of Mark Fanciulli to Liverpool, playing alongside Martin Buttrich at Rubix in the infamous venue Nation. SWITCHED’s Louisa spoke to Mark prior to the event…

Hello Mark, can you introduce yourself to our readers?

Hi there, my name is Mark Fanciulli. I’m twenty-seven, from Maidstone and work as a DJ and Producer playing House, Techno and anything in-between. 

You first started DJing at the age of 14, can you remember what your first set up was? Growing up, what were your musical influences, what made you want to start experimenting with producing music? How influential have your parents been to yours and your brother’s interest in music?

My very first set up was a pair of cheap direct drive turntables from Numark along with a 2 channel numark mixer. I had it set up on my desk in my bedroom for a year or so and then started to share Nic’s setup which was a lot better.

Musical influences when growing up included the Stanton Warriors, I was a really big breaks fan, also I liked the Plump DJs and Lee Coombs. Out of dance music I was into the usual things like hip hop, especially the Neptunes. After playing records in my room for a few years I wanted to look into production through a natural progression I guess, I wanted to make and create what I was playing. My parents have always been very into their music both with their own tastes and overlapping shared genres. They are a big reason as to why we like music and for being the support to get us where we are. They are just simply the best parents you could ever wish for.

 With fewer releases than some of the other artists within the music industry, you’ve certainly gained a lot more success. Is this an approach you aim to uphold within the future? Are you a big believer in quality over quantity?

I am a strong believer in quality over quantity. Of course if I could release more music in a year I would but if not I’ll prefer to hold back. There’s no point in releasing mediocre music. 

Can you describe your production style for us? Are there any classic elements you tend to use in your work, how do you go about creating a track that’s signature to the Mark Fanciulli name?

My production style mirrors that of my DJ style, House and Techno. As I’ve always said, I like to keep it interesting and varied. I might go into the studio with an idea in mind and more than half the time I’ll come out with a result which is completely different.

Your debut release was “The Tide” in 2011 on Rejected which propelled you into the limelight and ultimately gave you a household name in terms of house music, followed by the collaboration of “Keep On” on Area Remote with Jordan Peak which saw you receive worldwide bookings by the end of the year. The start of 2014 saw the release of your 4/4 heavy Detroit influenced “Chord Kaoss” EP on Carl Craig’s Planet E imprint, are there any other upcoming releases or collaborations you’d like to tell us about?

The rest of the year is looking very healthy release-wise for me. I have a release coming on Dennis Ferrers’ Objektivity imprint which comes on a more vocal tip and includes remixes from house maestro Phil Weeks and the talented Nasser Baker. Following on from that I have a release on In-Motion which is more down the techy route and comes with some heavy remixes from my friends Rod Malmok and Nikola Gala. Carl Cox has picked up an EP for his Intec imprint which will be coming later in the summer and following on from that Coyu will be releasing an EP from me on Suara. That one has a more old school influence on it, the A side more techno, the flip housey. I have a few more things as well which I’m shopping out at the moment. I want to spend as much of the summer locked away in the studio as possible.

Is there any advice that you have for any readers that are aspiring DJs and producers? Is there any important guidance you feel is essential for any young producer to know?

These are very simple bits of advice but I think very effective. Always do what you enjoy, don’t follow others just because you think its cool. Sure, take on some other sounds if you like them but don’t be a sheep. Nothing is ever easy, especially in the entertainment industry and always keep trying. Never sit back and wait, even after a few great releases. You need to always move forward and as one of my tutors at school told me, there is always room for improvement. Try to be as positive as possible and be grateful for any opportunity to travel and play a gig, from the local bar to Australia, others would kill for an opportunity to do 2 hours of something they love.

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What are you most looking forward to about playing for Rubix in Liverpool alongside Martin Buttrich?

I was lucky enough to play the first Rubix party last year and Shaun and Thomas are fantastic promoters and attentive hosts. I enjoyed every minute of the experience and they are great at what they do. Being able to come back and play for them again is a real treat and with Martin playing for them this will be their biggest show to date, something I’m proud to be a part of.

Whats in store for 2014? Will you be returning to Ibiza this year, are there any other big events coming up that you’re especially looking forward to?

The rest of 2014 is looking great. I will definitely be returning to Ibiza a couple of times this year.

I will be playing for Defected at Booom and also for La Familia at Ushuaia.

Other big events I look forward to are the Social in Maidstone in September and also travelling to new locations for me like Tunisia and Luxembourg.

And on a final note, could you list 5 of your favourite tracks right now?

There’s a lot but here’s a range of what is doing it for me right now…..

  1. Truncate - Dial (Ben Sims Remix)
  2. Truncate - Bodega (Ben Sims Remix)
  3. Mad Mike feat Davina – Don’t You Want It [Happy Records]
  4. Reelow - Illegal Jump [Serkal]
  5. Ben Sims – Freaks (Kink Remix) [Hardgroove]

Tickets available from Skiddle

By Louisa Newton

For one year only, The Warehouse Project returns to its spiritual home. 

The Store Street location buried underneath Piccadilly Station in Manchester, saw five years of WHP magic. There is something very special ahead for 2015, when WHP will celebrate ten years. Before that milestone, they will head for one-year-only back beneath the streets into the intimate confines of the Central Manchester location. Store Street will serve as the backdrop for the 2014 season with the first event revealed below, featuring extended WHP family on sale at 10am, this Thursday 12th June. The rest of the WHP14 season will be revealed in mid-July.

"A percentage of the people who attend WHP might never have had the opportunity to go Store Street. Those who did know its an unbelievable space for WHP, hidden away beneath the Manchester streets.  We said last year that WHP would be taking a different approach in 2014 and many will have been hearing rumours about something new in the pipeline for 2015 for the 10th Anniversary. So 2014 is about WHP going back to its roots. Smaller capacity, more intimate - an opportunity to revisit our spiritual home for one year only before we take the next step..”  

Sam Kandel, WHP   

'For twelve weeks the city is ours'

 Saturday 27th September 2014

SETH TROXLER
CARL CRAIG
TALE OF US
JACKMASTER
BEN UFO & PEARSON SOUND
LEON VYNEHALL
HARRI & DOMENIC
MR TIES
KRYSKO
GREG LORD

Tickets on sale 10am Thursday 12 June 2014

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 LINKS AND FURTHER INFORMATION

  

  • Tickets: £25 / £28.50 
  • Tickets on sale 10am Thursday 12 June 2014
  • Please note that the Store Street venue has a very limited capacity.
  • Tickets for all shows will be in huge demand and limited to only two per person, per event.  

For more information please visit:

www.thewarehouseproject.com

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The 14th June sees the return of Crescendo at The Boutique, this time heating things up with an exciting debut in the form of a 3 hour set from Dutch duo Redondo. Whilst still fairly young and at the beginning of their careers, they make up for this in quality of performances and production; having already created an international name for themselves over the past 5 years, Redondo are quickly becoming a name that relates to quality and are already releasing on some of the world’s best labels. Ready to conquer the world of House and Techno, Redondo’s sound fills each room with their raw and characteristic deep and tech-house style. SWITCHED’s Louisa spoke to Freek Geuze and Johan Vermeulen ahead of their Liverpool and UK debut.

Hi Redondo! For our readers that don’t know you, can you introduce yourselves?

For sure! We’re two guys from Holland who have been in the music business for about 10 years. We’ve walked many genre paths but have now finally come across the stuff we love most, and that is Redondo. 

When did Redondo form? Why did you come to the decision to start producing together?

We’ve been working on this project since about 2009/2010, but we’ve working together since 2001. We were classmates in high school, and the only ones who were busy with music and computers so it was easy to connect and make it work. 

Do you ever find it hard working in collaboration when it comes to different individual styles and preferences? How do you overcome these differences and what impact does it have your relationship in professional terms?

Not really, we’re very easy going guys, especially towards each other. Also we have the same taste, so sometimes we can even do an entire production without each other and nobody can hear the difference. There aren’t really many differences to overcome. Also our relationship in professional terms, is as easy going as it is in social terms. We like to do stuff we love and don’t let anything come in between that. 

Can you describe your production style for us? Are there any classic elements you tend to use in your work, is there anything you’d like to start experimenting with in future? How do you create a track that’s signature to Redondo?

That’s a nice question! Lately I would describe our sound as ‘House music that makes your mothers and girlfriends dance’. I think that explains it pretty well! We are not trying to be super underground, but at the same time not giving in on hypes. We just try to put a positive vibe in the tracks we produce, right now we’re working with a couple of vocalists. Before we thought that it would be easy to have a vocal and make a good track around it, but it obviously isn’t. You really have to have a super good vocal to make it work, so not ‘everything goes’. Luckily the vocalists we’re working with right now aren’t too shabby so we’re really happy about these possible collaborations. 

You’ve been receiving support from some massive names in the industry from Sander Kleinenberg,  Mark Knight and Roger Sanchez to name a few. How has this encouraged you to work even harder to gain more public recognition, also how does it feel to know that some of the biggest figures in House and Techno music are listening to your sounds?

This was a while ago, although at least two of them still play lots of stuff from us. It never gets old to see a great DJ supporting your music, putting it in his Beatport chart or just tweeting that they love it. Same goes for watching a crowd go wild to it. This is super impressive live, also watching fan’s YouTube videos is fun and the bad phone quality always makes it sound really huge for some reason. Seriously, tracks recorded live at events on YouTube tend to sound bigger than on the WAV file from Beatport.

Is there any advice that you have for any readers that are aspiring DJs and producers? Is there any important guidance you could give to our readers, that you wish someone had given to you?

Yes. Make sure you use the right samples and synths. There is so much rubbish out there. Even in packs that are pretty solid, there are total shit kick drums and snares. Make sure it sounds big and keep it minimalistic. Don’t bother to layer a hihat 8 times. It has to sound big in a club, so just 1 or 2 fat hihats will do the trick as well, 8 hihats will probably bounce each other out of the mix. Other good guidance is to have patience. If you just found out about dance music and you start producing, don’t fool yourself wanting to release within the next month. Give yourself some time, the more time you put into your own career, the more solid your progression will be and your career will last longer. 

You recently released your track “Waist Shake” on Mark Knight’s Toolroom Records which we’re big fans of, this’ll also be released as part of the Toolroom Ibiza 2014 compilation album. You also recently announced the release of your remix of Matthew Codek and Lucco’s “Do You Feel” on Konnekt, do you have anymore upcoming releases you’d like to tell us about?

A lot, we can’t really tell too many things about it yet, but we are working on a few huge follow ups for Love Too Deep. Also we’re working on a remix of Zhu – Faded which is a favourite track of ours this year, that one’s gonna be big. Also we’ve got a track called ‘Get On Up’ coming on Material’s Sonar Sampler. 

You’re also the co-owners of Dutch label Witty Tunes with Sideburn, can you tell us more about that? When did you decide to create the label and how have you found it so far?

Yes for sure, however Sideburn started the label and they are from Washington DC. They are friends of ours for a very long time, we were working on some productions back in 2010 and they asked us to come on board. We liked that and together we switched the progressive (real progressive) sound into more deep and techy based tracks. It’s really nice to have our own imprint. When we have a gig coming up we can play so many cool unreleased tracks we signed or are about to sign. The future looks bright for us, we got loads of great releases coming up.

What are you most looking forward to about playing in Liverpool? This’ll be your debut DJing in the UK, but have you visited here much before? 

First of all we love the UK accent and the fact you guys also like beer and football. Separately it’s not really our debut as we’ve played with a few different projects in London back in the day, but for Redondo it is indeed our debut and we’ve been getting a lot of nice feedback from the UK so something must be buzzing!. Also Love Too Deep is gaining great support by being played on BBC1 Radio and Ministry Of Sound. We hope it will be a great debut with a full crowd. You can expect a lot of exclusive stuff blowing out of the speakers!

And on a final note, could you list 5 of your favourite tracks right now?

  1. Teenage Mutants & Purple Disco Machine – The Path. Great summer track on Suara, recently released.
  2. Drunky Daniels & Mateus B – Reckless. Hot grooves from our own Witty imprint.
  3. Whitelabel – Sunshine. Little teaser but this is a collaboration from us with another dutch producer and it’s sounding super hot already. 
  4. Dr. Kucho – Patricia Never Leaves The House (Danny Serrano Remix) Danny remixed this classic for Witty, we licensed the original from Kucho. It will be out in late summer 2014. 
  5. TrockenSaft & Spencer K – Come To Me. Great anthem out on Witty Tunes right now. Summer stuff!

Tickets available from Skiddle

By Louisa Newton

Fuck Buttons @ Nation

SWITCHED photographer Jack McVann attended Liverpool Sound City and documents it through various photographs for our readers.

SWITCHED photographer Jack McVann takes on Liverpool Sound City and documents it for you.

East India Youth @ Nation

A series of graphic textiles prints created by extorting and layering photographs taken at techno events and festivals around Europe, including DC10 (Ibiza), Social Club (Paris), Sankeys (Ibiza), Concrete Club (Paris), Parklife Festival (Manchester), Creamfields and Haus Warehouse (Liverpool). Used as part of the UAL Journeys Project and university portfolio.

By Louisa Newton

Sugarmen @ LEAF

SWITCHED photographer Jack McVann attended Liverpool Sound City and took some striking snaps for you all.

The Wild Eyes @ The Shipping Forecast

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A series of Feminist artworks by SWITCHED editor Benjy Prescott, challenging the idea of female body expectations and stereotyping of female glamour. A visual-empowerment for women through sculpture.