A full-throttled ride through Italo-infused dance floor aesthetics, futuristic acid stylistics, energetic synth arrangements and uncompromising chug textures. Italian virtuoso Fabrizio Mammarella puts the pedal to the metal over the course of an hour long voyage.

We’re just gonna say it – Fabrizio Mammarella has been crushing it for over 15 years. Between co-running Slow Motion Records and Wrong Era, alongside good companion Franz Scala, and creating music under various alliances, he’s enjoyed numerous successes with a wide array of projects. With Slow Motion Records reaching its 10-year anniversary this year, the record label has build up an extensive catalog, cementing its status as a purveyor of quality Italian electronics.

While Slow Motion pushes Italian finest and Wrong Era shines light on internationally befriended artists, Fabrizio Mammarella has been hurling self-made material into the atmosphere under his own name and a variety of monikers like Telespazio and Black Spuma alongside Lauer. It’s a pleasure catching up with one of our longtime favourites, as he lays down a highly energetic, club oriented voyage.

Welcome Fabrizio, good having you here! What have you been up to and were do we find you today?

Thanks for having me! While I write I’m on a train from Venice to Milan, I’ve taken part of a music project for the Biennale Di Venezia, now on my way back home.

You recently played an all-nighter at Berlin’s infamous Sameheads, alongside Franz Scala. How did that go down? And tell us a little about your first impressions playing the venue.

The Sameheads brothers were among the first people Franz met when he moved to Berlin more than ten years ago, so when I was visiting the city I would never skip a beer at their previous shop. We’ve always been in touch during the years but I’ve never had the chance to play at their new venue when they moved the shop to the new place with the infamous basement. It’s no secret I’ve always wanted to play there as they’ve been building up a strong reputation in the Berlin clubbing scene, showcasing all ranges of electronic music and becoming a solid base for upcoming talents and established artists. People go there for a reason, the crowd is 100% focused on music, no clubbing tourists in there meaning full fun and respect for the environment and djs. That Discoteca Paradiso night with Franz went very fast even if we played more than 8 hours together, that means it was a great one, our Slow Motion party manager and booker Giulia Gutterer played the first couple of hours opening the night in the best possible way.

Between your Fabrizio Mammarella, Black Spuma, Telespazio and Clap Rules projects, you’ve build up quite a comprehensive repertoire. How do the conjoined efforts differ from your work methods and sound as a solo artist? And what piece of gear has been key to your work?

All these monikers are just names to refer to different ideas or collaborations with other musicians. Clap Rules was a live band, Telespazio is a project for less danceable music, Black Spuma is a joint venture with Lauer. The working methods differ every time both when I work on my own or with other people, for me the most important element when I record something is having a signature sound and hopefully it can be traced in all the works I’m involved with. I’ve been lucky to use and collect so many pieces of gear, but I guess I’m very emotionally attached to my first synth the Roland Jupiter 4.

On the subject of Black Spuma and Philipp Lauer. Can you give us an insight into your collaborative process? Is there a certain roll division when it comes to creating tracks? And what does a typical studio session with Lauer look like?

Philipp is based in Shöneck in the countryside near Frankfurt, a very peaceful and nice environment, he has a monster studio next to his house that looks more like a gear museum with all the synths, drum machines and effects you could dream of. I travel there at least twice a year to record new stuff. The typical studio day with Lauer looks like wake up at 8, shower, food, take his son to school, back home, eventually more food, studio session until lunch time, cook, eat lunch, more studio session until 18, cook dinner, eat, drink sparkling water and apfelwein, watch a movie go to bed. The time spent together is always about 3 days so kinda short. We try to record as much stuff as possible doing mainly loops of rhythmic parts and melodies that sounds good together. Then I arrange the tracks later in my studio in Italy and we exchange ideas on whatsapp until we’re happy with the final result, we love and trust each other so it’s a very smooth process.

Aside from making music, you’ve been co-running the Slow Motion enterprise, alongside Franz Scala. With the label celebrating its 10-year anniversary this year, how do you look back on all those years?

What makes running this label so special is the relationship we build up and consolidate with new and old friends helping running the label (Franz, Federico, Giulia, Milla, Andrea, Luc, Max, Karim, Otto) and all the artists that have released both on Slow Motion and Wrong Era, our sub label for international artists. Making a record is a very long and intense process but at the same time very exciting and it connects many people working on one project.

And tell us a little about the different challenges you faced when starting the label, in comparison to the ones you might face after such a long run.

We started the label because there was a lack of a platform for Italian dance artists to express themselves and we thought we could try build up a family and a scene. 10 years ago the vinyl sales were already down in the music market but we always wanted to press vinyl in order to have a physical item in the shops worldwide and to have an object for visual artists to express with amazing art sleeves. Sales started increasing year by year so now we’ve finally managed to even repress some of the releases. There’s never been so many challenges for us as we’ve never had big ambitions, we just want to release the music we like and make it available to as much people as possible, we have never had the desire to become a major or to raise up the next star in the electronic music scene.

What can you tell us about this mix you’ve recorded for us? Any special tracks in there you would like to mention, where is it recorded, inspiration, atmosphere, etc.?

It was recorded with Ableton while sitting on a train, I like doin podcasts and working in general while I travel, it makes me feel the travelling time goes faster and I don’t get bored. It’s a dance mix because I’ve been doin many listening or non dance podcasts lately, I don’t want people think I would let them sleep in a club. It contains a track from the new Franz Scala album (my highlight at the moment), many mixes and remixes I’ve done by myself and with my beloved friend Rodion soon to be released on Slow Motion and Wrong Era. It’s mainly forthcoming tracks by me or by friends related to my world, I hope you’ll like it.

What’s on the horizon for Fabrizio Mammarella, Slow Motion and Wrong era?

My new Fabrizio Mammarella EP and one with Rodion on Slow Motion, few remixes including one for the Belgian Marching Machines on Wrong Era and a rework for the italo classic Steele Up – Waiting For You, a Dub Mix for Front De Cadeaux new album, more collaborations with Lauer as Black Spuma, with Emperor Machine, Altieri, Bottin and Kito Jempere. Fingers crossed I’ll make all this happen. Ciao!

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