Once in a while a record causes such a wave of excitement, it brings new vitality to dancefloors and generates fresh enthusiasm for the underground scene. 'Without You' is one such record, brought to life by the great talents of Art Department, a duo causing deep tremors due to their pioneering use of quivering bass, haunting vocals and fiery kickdrums. The A side features the vocals of techno's wonderchild, Seth Troxler, as well as Kenny Glasgow (one half of Art Department), his voice a major element of what makes their records so special. 'Vampire Night Club' layers the duo's trademark synth sounds with an eerie and skin-pinching atmosphere. A truly mesmerizing record that gives the perfect introduction to the Art Dept sound on Crosstown Rebels, pre-empting their debut full length album on the label next year. The double A and title track 'Without You' combines that unforgettable seductive bassline
with a lingering vocal call. This record could have been made in the future as much as the past, its simplicity and depth the key to its appeal. Calls for its release have been heard for months and now have been answered with an extended 12” mix. Art Department is the brainchild of Canadian duo Jonny White and Kenny Glasgow. With musical credentials dating back two decades, together they have constructed their own take on contemporary house
music that has caught the attention of some of the leading figures of the current movement. With an album slated on Crosstown Rebels next year, this single is the first in a long line of raw futuristic bullets destined to cause a storm with an international audience More

Hot on the heels of the recent Normalizm EP and 4-tracker that topped vinyl charts for Kerri Chandlers Kaoz Theory, Art Department drops a 3 track vinyl-only offering for this year’s Record Store Day, simply titled ‘A Record For Records Sake’. The release kicks off with a warm, filtered and looped sample work out featuring disco guitar licks and a simple, infectious key melody executed in typically raw Art Department fashion. The song comes with a “Dolled Up Mix” which sees subtle changes in filter work and mixdown to extract a different emotion from the record. The EP closes with a straight forward house offering in “d’igualada “, a stripped back and deep affair with muted jazz undertones and relentless rhythm section. A perfect vinyl contribution to celebrate Record Store Day from the veteran Art Department. More

Kerri Chandler’s mighty Kaoz Theory welcomes an appropriately colossal figure from the dance world for its next EP, with Canadian artist Art Department aka Jonny White serving up four fantastic new tracks.
Now the lone force behind the world-famous Art Department project, White also heads up the decade strong No.19 Music as well as more recent label additions Social Experiment & Sunday Money. On tour, he can be found at the world’s leading clubs and festivals laying down emotive, forward thinking sets of underground house and techno that continue to evolve and inspire. His CV doesn’t stop there, with a passionate commitment to wildlife conservation leading to the formation of Music Against Animal Cruelty (MAAC), a non-profit organization which has seen White rally support from the music industry to make a real difference to a vital cause. Add to this his recent partnership in leading label and distribution company Subwax Bcn and it’s clear that White is a man on a mission.
As ever with Art Department, these latest tracks show another subtle evolution of sound, kicking off with the superb ‘Industry.’ This is a roller coaster ride through raw organic grooves with swirling pads and subtle vocal cries all layering up the intensity and guaranteeing a huge reaction. The equally impactful ‘Exit to Eden’ takes on a more swinging house vibe, with brilliantly loose drums shuffling along with a New York feel. Again, soulful vocal samples add steaminess to the groove, delivering a cut that is destined to lift the mood wherever it’s dropped.
The kicking ‘Boa’ picks up the pace once more with smart drum programming that gets you on your toes. It’s upright and driving, with raw hits and huge kicks powering you along as a timeless and nimble bassline bounces about down low. Closing things down in style, the excellent ‘Madbar’ is another high impact house cut with edgy chord stabs and bristling drums. The whole thing brims with house charm and is a perfect closing opus to the accomplished package.
These latest four offerings from Art Department mark another high for Kerri Chandler’s always on-point Kaoz Theory.
More

Sonny White’s Art Department returns this March with his first solo EP in nearly 3 years, the first of a string of releases planned for 2018. The record features three inventive new tracks, including one produced in association with New York house pioneer Toddy Terry and vocalist Roland Clark. First is ‘Sour Jazz’, a cut which intimately shows off White’s originality in the studio, delivering a sublime production rooted in driving, weighty drums and twisted bass. Up top, pained synths bring a sense of real emotion to the groove and as things unfold, keys run down the face of the arrange- ment. Clever breakdowns build the tension and the palpable heat, sweat and intensely of being lost in a packed dancefloor oozes out of the track, flooding you with feeling. The brilliantly bristling ‘721 (Queen St)’ shows off White’s ability to programme an essential and absorbing drum line: it is bouncy and big, elastic and lively, and cannot fail to get under your skin thanks to its instantly classic sound and old school flavour. The physical nature of those drums are offset with deft chords which dance up top and bring light to the track, while sax lines gently drift in and out for extra musical flavour.
And so to ‘Roots Deep’, a collaboration that spans the decades, back to the roots of house music with Todd Terry and Roland Clark. Reminiscent of earlier Art Department records with unforgettable hooks tied down with tough percussion, it is an immediately timeless anthem done as only this man can. Waves of synth and echoing vocal stabs set the stage, but it’s when the famous ‘in the beginning’ vocal starts that hands will go skyward and the club will erupt. It brings a near religious edge and gospel feel to the track, whilst a standout bassline tumbles down the scales to finish things in robust style. Once again here, Art Department combines a true understanding of dance-floor dynamics and house history with a unique sense of vision that ensures this is an EP packed with vital and inventive new sounds. More

“Natural Selection” sees Art Department expand upon their previous release, building a deeper and more mature and experimental sound that unravels through the duo’s trademark murderous basslines, raw textures, expert production and distinctively melancholy vocals of Kenny Glasgow that have made them one of the most prolific writing/production teams in the industry .“Natural Selection” represents the music, the story and Art Department’s evolution from the projects inception until now, alongside Kenny and Johnny’s personal journeys as individuals. Strewn with themes that centre on the cyclical idiosyncrasy of ‘natural selection’, Art Department explore a defined narrative throughout the LP; feelings of spiritual awakening and tranquillity, indecision and turmoil tell a story in which the beginning could in fact be the end. “Natural Selection” is a diverse album in which Johnny and Kenny’s inherently seamless production is in-fact a prerequisite to their existence. More

“Natural Selection” sees Art Department expand upon their previous release, building a deeper and more mature and experimental sound that unravels through the duo’s trademark murderous basslines, raw textures, expert production and distinctively melancholy vocals of Kenny Glasgow that have made them one of the most prolific writing/production teams in the industry .“Natural Selection” represents the music, the story and Art Department’s evolution from the projects inception until now, alongside Kenny and Johnny’s personal journeys as individuals. Strewn with themes that centre on the cyclical idiosyncrasy of ‘natural selection’, Art Department explore a defined narrative throughout the LP; feelings of spiritual awakening and tranquillity, indecision and turmoil tell a story in which the beginning could in fact be the end. “Natural Selection” is a diverse album in which Johnny and Kenny’s inherently seamless production is in-fact a prerequisite to their existence. More

Barcode: 5060376935301

Art Department, one of electronic music's most recognizable dance outfits announce the release of their eagerly awaited second studio album, "Natural Selection", releasing through No.19 Music this November.
Natural Selection" sees Art Department expand upon their previous release, building a deeper and more mature and experimental sound that unravels through the duo's trademark murderous basslines, raw textures, expert production and distinctively melancholy vocals of Kenny Glasgow that have made them one of the most prolific writing/production teams in the industry .
Berlin based house producer, Aquarius Heaven and the infamous Seth Troxler, both partake with original vocal contributions in the form of "Kisses For Roses" and "Cruel Intentions" and blend effortlessly into Art Department's brooding, alternate reality.

TRACKLISTING:
1. Natural Selection Intro 2. It's Through 3. The Agent 4. Kisses For Roses featuring Aquarius Heaven 5. JD 4 AD (Interlude) 6. These Eyes 7. The Hunt featuring Blud 8. Crazy 9. Cruel Intentions featuring Seth Troxler 10. Breathe Easy 11. Walls 12. Macba (Interlude) 13. In The Wake 14. Catch You By Surprise
More

Art Department are back on the mothership Crosstown to kick off 2012 in lurid style with a slice of slow burning, chugging disco-tech and pendulum beats in new single 'Touch You Gently'. The B-side is taken care of with a powerful Brenann Green rework of 'Tell Me Why', from the much lauded album 'The Drawing Board'. Fresh from topping the RA poll for best labels in 2011, Crosstown Rebels are launching the year with one of the finest duos to emerge out of the trailblazing Toronto scene, Jonny White and Kenny Glasgow aka Art Department. After two years of tearing up the global scene with their inimitable sound, one passionate debut album and stream of killer club tracks including 'Living The Life feat. Seth Troxler' and 'We Call Love', the duo earned a place as one of the years major success stories. A-side 'Touch You Gently' is an embryonic blend of spooky synths, gliding, sexy basslines and futuristic bleeps offset with the ever-presence of Kenny's hypnotic layered vox, as ever, a true testament to their individuality and off-kilter spirit. It's deeper than deep and a sensual brainteaser that shifts up a gear with a floaty melodic breakdown in the final phase. After attracting an impressive bag of remixers for 2011, including DJ Harvey, Daphi (aka Caribou), DBridge and TEED, It's no surprise that Crosstown have matched one of the most well-respected disco dons in the game with this release. Unlocking deeper dancefloor potential for 'Tell Me Why', NYC DJ and producer Brennan Green delivers his timeless groove with arpeggiated synths, syncopated drums, lush balaeric piano licks and whistles to boot. This remix is simply fantastic… come to that this single is simply superb!!
More

Art Department have gone back to The Drawing Board and rewritten house music for a new generation. More

Headz up! Guti’s current club cutter ‘Red Eye’ continues to wriggle and writhe its way hypnotically into our sets and psyches with these two crucial versions from one of house and techno’s most respected gentlemen… The one and only Kenny Larkin. Weighing in at a combined length of 20+ minutes, both remixes capture the Detroit legend at his deepest and most cosmic with his hands glued to the dials. Not just part of the biggest single from Guti’s ‘Year Of The Conga’ album so far, they also tell a unique tale of their own… These mixes were originally meant for the full release earlier this year, alongside killer mixes from Loco Dice and Priku. But when Larkin received a shiny new Moog One he rang Guti and label bosses the Martinez Brother and told them that they’d have to wait… He was about go back in with a whole new modular perspective. You can feel it, too; that deep throb on the subs and trippy psychedelic swirls of his ‘Black Eye’ mix and that wobbling voluptuous bassline in his ‘Pink Eye’ mix are just two examples of Kenny’s attention to sonic detail and pure analogweight on these two immersive, alluring remixes. More

Life is all about rhythms. We don’t know what we’re dancing to until we’re in so deep we can no longer control ourselves. The rhythm controls us. Right now both Guti and the Martinez Brothers are dancing to the conga rhythm. Guti’s third album, they’ve been dancing to it since the summer, teasing us with a whole slew of percussive new… And they’ll continue throughout 2019. Chance are you will, too. Eventually the rhythm will control all of us. It’s too infectious not to. Here’s the 411: ‘The Year Of The Conga’ is Guti’s third and most rooted album to date. It came about through a personal request from brothers Chris & Steve Martinez. Both unapologetic Guti fans they wanted the very first album on their Cuttin’ Headz label to be his. The result is a total reconnection back to his Argentinian foundations, his club roots and everything that first lured him to the dancefloor… More

After strong releases by Jerome Sydenham, Guti, Martin Buttrich and the esteemed label leaders The Martinez Brothers, here we have remixes of Stec and Chris Martinez own out put by first team players. Mathew Johnson gives us an energetic analogue workout. Peggy Gou gives us a wistful version of ‘H2 Da Izzo’ with retro drums, lush strings to give us a straight up, classic house cut. This is also tackled by Mayaan Nidim who gives us a stripped back, refined take as you would expect from a Perlon artist. DJ Deeon takes on the buoyant ‘Stuff in The Trunk’ with Miss Kittin’s playful vocals. More

Cuttin’ Headz returns with a new EP from long-time Martinez Brothers collaborator Argy, entitled ‘The Numbers’ EP and backed with remixes from DJ Skull and Christian Burkhardt. The impossible to pigeonhole artist, known for numerous quality underground hits, such as ‘Love Dose’, ‘Unreliable Virgin’, ‘Debbiedowner’, ‘Upon Ourselves’, to name but a few, marks his return with “The Numbers” EP. After spending an entire week digging for gems in the basement of a legendary vinyl store, indulging in white label bootlegs and lost classics from the 80s and early 90s, Argy left with a bag full of rare pressings and was immediately inspired to compose his next EP after having spent a year focusing solely on remixing artists such as DJ Hell, Detroit household name Terrence Parker and more. Riddled with obscure 30-year-old vinyl fragments and noises ‘The Numbers’ EP nods towards the UK Rave scene, early Warp, US proto-house and NuGroove. ‘The Numbers’ EP was all recorded with a live feel and the title cut lays focus on acid bass, dymamic drums and trippy vocals before ‘Tutti Fruti’ employs hip house vocals, swinging rhythms and spiraling synths swells, ‘A.F.T.E.R’ then rounds out the originals with a darker edge via murky stabs and echoing vocal murmurs. Chicago House legend DJ Skull steps in to rework ‘The Numbers’ next, and as expected delivers high- octane energetic house fuelled by a drum machine workout, the original’s hypnotizing bass lead and sporadic vocal shots before Germany’s Christian Burkhardt stamps his unique mark on the title-track via skippy drums, a snaking bass groove and intricate processing of the original elements. More

Desolat’s Loco Dice joins the roster of Martinez Brothers Cuttin’ Headz label this April with ‘$lammer’, backed with a remix from Detroit Techno veteran DJ T-1000. Du¨sseldorf’s Loco Dice has long been one of the most respected figures in contemporary electronic music with releases over the years on leading labels like Cocoon, Cadenza, Ovum and of course his own Desolat as well as a heavy touring schedule taking him across the globe year in year out. Here though we see Dice offering up his new single courtesy of Cuttin’ Headz, a platform the Martinez Brothers and associates to deliver high octane, dance floor focused House and Techno. The original mix of title track ‘$lammer’ leads with spiralling brass like bass tones, flute licks, shuffled shakers and resonant synth hooks running alongside a bumpy bass line and an amalgamation of heady, processed vocal lines. Following is Detroit’s DJ T-1000 stepping up on remix duties, stripping back the aesthetic of the original to lay focus on robust rhythms and various vocal refrains from the original whilst chugging bass and tension building atmospherics gradually unfold throughout. More

Argentina’s Guti and Australia’s Morgan join forces once again, this time on the Martinez Brothers label Cuttin’ Headz with a five track EP entitled ‘This Must Be The Future’, including Mark Broom, Dan Ghenacia and Chris Carrier remixes. Established in 2014, the Martinez Brothers Cuttin’ Headz imprint has been going from strength to strength, with a busy release schedule littered with influential artists from across the house and techno scene including Jerome Sydenham and Steve Rachmad. 2017 sees the label take on powerhouse collaborators Guti and Morgan for a new collaborative EP, Guti’s fusion of influences shine through in his productions which have gained him support from the likes of Loco Dice, Luciano Ricardo Villalobos and Carl Cox, whilst Morgan has been gradually honing her raw stripped back sound in the studio and helping to run Guti’s Rompecorazones label. ‘This Must Be The Future’ opens up the EP with a subtle yet effective groove that meanders in time with a set of hypnotic effects and vocal samples with twisted acid bleeps. Next up, the Dan Ghenacia and Chris Carrier Edit rolls in with a headier groove laced with booming kicks and scuttling hats, delving into the depths with panning bleeps and dissipating synth noises. Guti’s solo production ‘Her House’ goes in with a deep and Latin-tinged rhythm, slowly building euphoric samples and a vacillating sub before the Mark Broom remix takes a different route with a peak time twisted techno feel, laced with intoxicating chords and infectious snare fills. Lastly, closing the package is Guti’s digital only release ‘Airplane Jam’, in which an intoxicating 303 arpeggio loops alongside jittery and crafty percussion in typical Guti minimal aesthetic. More

The Martinez Brothers return to their own Cuttin’ Headz label with a new two track EP. ‘Joint Custody’ features collaborations with Jerome Sydenham, Mathew Jonson and Martin Buttrich and is due for release on the 24th February. First track ‘No Pop’ is a 12 minute acid-influenced workout, channelling both the Martinez Brothers’ and Sydenham’s taste for faster-paced dancefloor-ready basslines alongside Jonson’s ear for the surreal; high-pitched chirps pitch down into classic acid stabs whilst a metallic distorted vocal echoes above clapping hi-hats. Affection Deficit Disorder’ alongside Martin Buttrich continues this sense of quirkiness, the title’s eponymous acronym repeated over a darker, grooving bassline and spacey keys. The duo’s final collaboration with the producer, ‘9 Pound Hammer’ appears as a bonus third track on the vinyl release. The ‘Joint Custody’ EP is the Martinez Brothers’ first release since the incredible success of last year’s ‘Stuff In the Trunk’ featuring Miss Kittin. The release follows the pair’s highly anticipated gig at the launch of landmark new London venue, Printworks. More

Mid October will see The Martinez Brothers’ Cuttin’ Headz imprint return with Andrea Oliva’s ‘Vermona’, backed with Steve Rachmad and Sterac remixes. 2016 has been another year to remember for Swiss producer Andrea Oliva. With releases on labels like Desolat and Knee Deep In Sound, a Radio 1 Ibiza Essential Mix and worldwide club nights for ANTS on going throughout the year, the upward trajectory seems set to continue for this ever-evolving artist and here we see him joining the roster of the every impressive Cuttin’ Headz imprint. Andrea Oliva’s original mix of ‘Vermona’ takes the lead and sees the swiss producer fusing menacing synth drones and rumbling low end hits with his signature undulant energetic drum style. Steve Rachmad steps up next to rework ‘Vermona’ under his own name first of all, delivering a smoothly unfolding six and a half minutes of raw bass stabs and upfront percussion before the latter stages introduce the original’s eerie synth lines.
Then to complete the package Rachmad turns in an inrerpretation as Sterac, delivering a more robust take on things via hypnotic rhythms, mind-bending loops and subtle evolvements. Andrea Oliva’s ‘Vermona’ is out on Cuttin’ Headz 11th (Vinyl) and 18th (Digital) November 2016. More

The Martinez Brothers Cuttin’ Headz returns with a new EP from The Butcha, entitled ‘10001’ and backed with two remixes from Matrixxman.

More

Early August will see the Martinez Brothers Cuttin’ Headz imprint return with a five-track EP from Luke Solomon, featuring remixes from Byron The Aquarius and Filsonik.
Although only marking its seventh release here the Cuttin’ Headz imprint has carved out quite the reputation already with its most recent output, a collaboration between label-heads Martinez Brothers and Miss Kittin garnering huge support from both underground and commercial tastemakers. Here though we see the label reach out to one of underground house music’s most revered producers, namely Luke Solomon, co-founder of The Classic Music Company alongside Derrick Carter and a name synonymous with raw, authentic and soulful electronic music. The Vocal Mix of ‘Script kicks things off and sees Solomon deliver a typically unique take on modern house music via crunchy rhythms, deftly flowing bass sequences and an ever-evolving dynamic while Nick Maurer’s murky vocal stylings are intricately processed to further fuel the tripped-out hypnotic feel of the record. ‘Beats Work’ follows and lays the focus on bumpy percussion, a heady 303 lead, sporadic synth fills and a hooky vocal lick to create an understated dance floor workout.
Atlanta’s Byron The Aquarius turns in a dreamy interpretation of ‘Script’ to follow, employing mesmeric bell chimes and soft atmospherics to swell around the foundation of the original composition before New York’s Filsonik strips things back to the core his rough and ready 808 led rework. The package is then closed with a ‘Long Time Dub’ from Luke focusing solely on the driving energy of the record. More

Internationally-renowned NY duo The Martinez Brothers have teamed up with the influential Miss Kittinfor ‘Stuff In The Trunk’, the latest release to come out on the Brothers’ own label, Cuttin' Headz. Due for release on the 13th May, this package includes the original track alongside an instrumental and a clean edit. ‘Stuff In The Trunk’ is certainly an eagerly-anticipated release, with The Martinez Brothers having already teased it at a select few shows - it’s prompted big reactions at the likes of Caprices Festivaland Fabric in London, resulting in widespread excitement amongst peers and fans alike. Miss Kittin’s vocals are instantly recognisable, the teasing lyrics standing out against the bouncing bassline and skipping hi-hats. Fast-paced and catchy, it’s evidently a hugely effective dancefloor-ready release. Perfectly timed to come out just as the duo’s busy festival and Ibiza season kicks off, ‘Stuff In The Trunk’ is an exciting addition to the Cuttin' Headz discography. More

Jesse Calosso is a Bronx-born DJ and producer, part of a tight clique of New York artists that includes such luminaries as The Martinez Brothers and Filsonik. 2015 has been a busy year for him. Not only has he completed a mix-tape style album as Masters at Dutch with The Martinez Brothers and Blas Cordero, but also his tracks “Serving Size” and “Whatever Right Now” appeared on the Tuskegee EP “The Come Up Vol 1”. He has DJ-d at Output in Brooklyn, Circoloco in Ibiza and at Seth Troxler’s Acid Future party in London to name but three. Now, he releases a brand new four-track EP called “The Incoming” on Cuttin’ Headz. “The Incoming” is a diverse collection of tracks that shows a real maturing of Calosso’s style. As far as influences are concerned, he says “It all goes back to disco”, and speaks fondly of his father’s “attic full of vinyl.” No doubt it was this variety of early musical starting points that led him to create “The Incoming”. The EP starts with “This is 140”, a rhythmic builder with crisp drums, filtered, cut-up sampled vocals and a funky bassline. Next up is “9AM”, an acid-tinged track with hypnotic soundscapes and spacey washes. “Scratch That” brings the tempo up with its tougher, techy sound. Finally, “Knocking” is a main room thumper with an agitated bass hook beneath a sinister top line synth motif. More

The fourth release on The Martinez Brothers’ Cuttin’ Headz imprint, the bros from the Bronx come up with some old school flavored house vibes with their remix of the Basement Jaxx Feat. Sneak “Sneakin’ Toronto”. They snagged the remix package from the veteran electronic music duo as a lead in to the Basement Jaxx full length album “Juno” expected to be released later in the fall on Atlantic Jaxx / Pias. The vocal version features a flurry of different spoken word phrases chopped up and filtered. The Dub is for the vocal-phobic members of the public - a bubbly slice of jackin’ house that will brighten the dance floor. More

The second release on the Cuttin’ Headz label is by the collective Destination Void: DJ Spider, Brendon Moeller and Phil Moffa, three major players on the NYC production map. Destination Void is techno straight from NYC, robotic and dark, designed for late nights in remote warehouses."
More