The definitive Cuttin Headz label welcomes global house icon Jonny White aka Art Department for a new EP that boasts two vital house cuts. Art Department is one of the most recognisable names in the underground scene. The solo project of No.19 Music label boss and Canadian Jonny White has graced high profile magazine front covers, headlined all the key festivals and events, and turned out some of house and techno’s most essential cuts in the last few years. These two new missiles show yet another sound and style to White’s arsenal, and are destined to make a huge impact in the club. First out of the blocks is the rock solid ‘Shame’ with razor sharp hi hats and tough, punchy drums. The excellent physicality of the groove is off set by a super soulful vocal sample up top, and as the track barrels along smart filters and a hypnotic lead are sure to get the whole club under a spell. Then comes the superb ‘Fixation’, a totally different but equally original proposition that is built on restless drum programming and twitchy synths. It’s a freaky late night cut that brings muscular grooves and absorbing bass to the floor for maximum destruction. This is a powerful new EP from Cuttin’ Headz and Art Department, two giants in the scene.

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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.

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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…

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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.

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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.

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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.

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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.

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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.

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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.

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



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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.

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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.

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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.

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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."


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