Brianna Price aka B.Traits grew up in Nelson, British Columbia, a town where “half the people are hippies and half are rednecks.” Her path was set very early indeed. “Even at five, six years old, I was totally mesmerised by music channels and discovered electronic music, including British acts such as The Prodigy.” She soon found herself becoming a music selector and mixtape creator for friends and eventually DJing at local nights.
Bri moved to Vancouver to study music production and would persuade DJs touring North America to come and play in the city. Brit originator DJ SS returned the favour and invited her to play on the World Drum’n’Bass tour. Having never travelled outside Canada, Bri found herself on a whirlwind journey ending in with a permanent move to London, the birthplace of the music she grew up loving.
Bri kept DJing every weekend and working in the studio during the week and in 2007 whilst on tour with Shy FX she played him some of her early productions. Impressed with her skill as a producer and DJ he brought her into his record label, Digital Soundboy.
In 2012 she released the rave / bass hybrid track ‘Fever’ on Digital Soundboy, hit the UK Top 40 and had the track upstreamed to a major record label.
Meanwhile, she attracted the attention of Radio 1’s In New DJs We Trust. Within a year Bri became first choice when Radio 1 was seeking an official cover for Annie Mac.
In September 2014 Bri was honoured with her own show as part of the legendary BBC Radio 1 Friday night line-up, bridging the gap between Pete Tong and the Essential Mix from 1-4am. She loves using her show to champion new underground artists as well as introducing her younger audience to the most influential masters of the scene, both current and historic.
A skilled producer, club DJ and radio presenter, bridging underground music from techno to jungle to house. You should certainly expect the unexpected where B.Traits is concerned – but if there’s something you can predict, it’s that whatever comes next will be unique and it will be big.
When dixon entered the berlin club circuit in the early 90’s, he established his name on the strength of djing. Back then, confidence or experience based on putting out mixes in the internet did not matter as much as it does now. You had to do your practice, of course, but when your thing was good and tight enough to take it to the clubs, there were opportunities to do so. But those opportunities meant responsibilities. A residency did not mean playing the same club every once in a while, it meant playing the same club every week. The crowd did not consist of people that wander in and out of club nights and its guest djs as the weekly hype commanded them, it consisted of people which headed straight to a certain club night because they were sure its resident dj would deliver the goods this week as he did last week, and the next weeks to come. As long as that happened, there was no need to move on.
In such a context, there is no way to learn quicker how to become a very good dj than by making people dance throughout a set that lasts the whole night, on a very regular basis. If you can’t hold the crowd for hours then, you fall through. It is learning by doing, the hard way. Dixon did not only learn very quickly, he loved every moment of it. Starting out low, slow, unfolding the flow, working towards a peak, then working towards another, turning up, turning down, to find the exact point from which to swing moods, to find the perfect way to end what should be a lasting experience. Once you passed your exams in the night club school of that era with distinction, you can rely on it forevermore, and dixon surely did. His residencies then and now are obviously schooled on the stylistic and technical versatility and skills, attitude, stamina and experience based on countless nights honing ways to direct a loyal crowd on the dance floor at will.
Keeping all this in mind, it comes as no surprise that dixon extended his merits beyond the club by a medium closely connected to the dj craft. He compiled and mixed the off limits compilations, which became very popular and introduced his impeccable style of mixing to a public reception way beyond that of those who had already heard him play in a club context. Later he branched out to even more success by doing a highly influential mix compilation for the get physical label’s body language series, a mix cd that has inspired people all over the world. These releases were intended to show the sincere dedication dixon has to his profession, and they evidentially do.
However decided Dixon was to follow the path of his choice throughout his career, he certainly was not insistent on travelling alone. He used events to introduce foreign djs to Berlin crowds, raised his profile by providing memorable support slots in the process, and contacts were made. He got to know likeminded souls from all over the globe, and he travelled abroad himself, and his reputation grew further. Meanwhile back home, he made bonds with Jazzanova and became involved with their vibrant Sonar Kollektiv label. Never the one to shy away from challenge, dixon made his first foray into label and A & R work with running Sonar Kollektiv’s sublabel Recreation Recordings, where he set up a testing ground for his personal view on house. He introduced âme in the process, two comrades from the traditionally strong deep house scene of southern Germany, whom he brought to the Sonar Kollektiv stable, only to observe that they pulled in the kudos for their music very quickly.
In 2005, the reign of minimal sounds in Clubland was gaining momentum as much as house lost it, and more sooner than later Dixon came to the conclusion that there had to be a way to maintain his preferred sound while so many djs and artists were reducing the musical ingredients of their output. The choice was simply either to adapt or to rebuild. Dixon decided for the latter and took the next step with another Sonar Kollektiv sublabel called Innervisions, which he founded with Âme. It was clear from the beginning that this label was intended to make a difference, and it was clear from the beginning that all the connections dixon made with likeminded souls should come into fruition with it. It was a platform that was thought of to keep up the house tradition all those involved stayed so faithful to over the years, but it was also thought of to breathe some fresh air into it. And so it did. Dixon’s famous rework of Tokyo Black Star’s Blade Dancer knocked on the door, and already the second release, Âme’s future classic Rej EP, was breaking right through it. The following releases by befriended artists confirmed the almost instantly good reputation of the imprint and within a short time it became obvious that something was achieved that not any label could achieve: a sound was innovated and an identity, which began to seep through the scene, affecting the way other labels recruited and published their roster. While being developed on the back of a longstanding tradition, Innervisions kicked house back into focus, and many others were happy to join in, either again or for the first time. Always interested in producing some added value to a good thing,Ddixon soon used the success to put other ideas into action. The label was parted from the Sonar Kollektiv mothership and became independent, and the trademark artwork of the label was getting connected with sought after fashion and design items, carefully conceived to meet the high standards of the Innervisions camp and its supporters.
The biography of nearly every globally renowned House and Techno DJ / Music Producer / Label Owner
reads pretty much the same. They’ll start by telling you how they got into music as a child listening to their parents vinyl collection (which probably includes Motown, Funk, Soul and a bit of Disco). Their father was possibly a (folk) musician who helped introduce them to music at a young age. Coming from West London they probably listened to and were inspired by the sounds of Drum & Bass from their local pirate radio station (maybe they got a show on said station a few years later) and the reggae Soundsytems they’d pass on their way home from school. Their career will have kicked off likely in their early teens with a few local DJ gigs, maybe in a regional UK city like Bristol, maybe they promoted some parties and then later started a record label (or even four). Said producer must have put out their first release on an uber-cool indie label (something like Derrick Carter’s ‘Classic’ imprint). Then their career might have taken off when they started twisting the format of House music with the help of a few fellow producers and a new label imprint (let’s use ‘Dubsided’ as an example). Some of them might have followed that lucky streak with constant plays at a legendary London club like Fabric. In a bold gesture they may have even moved to a city like Berlin and started a monthly residency at another legendary club, something like Panorama Bar. At that point they’ll have “broke through” by influencing a culture entrenched in one style (Minimal Techno) to a new one (Chunky House & Techno).
Any DJ/producer worth their salt carves their own career, and though noted accomplishments and milestones paves the way for themselves as a globally recognized identity. This starts with residencies and regular plays at some of the world’s most hyped nightclubs and parties, say: Womb in Tokyo, Razzmatazz in Barcelona, Rhonda in Los Angeles, and 20+ more, from Robert Johnson and Cocoon in Germany to Space, Pacha and Amnesia in Ibiza. Let’s not forget a consistent presence at festivals like Exit, Melt, Parklife, Creamfields, Tomorrowland, Mysteryland, and give or take 30+ more. They’ve got to have credible and viral remixes under their belts, from massive Rap and Dance acts to the most respected underground artists; we’re speaking about everyone from electronic legends like Underworld, Armand Van Helden, Simian Mobile Disco, Cassius to rappers like Childish Gambino, Joey Bada$$ and Kendrick Lamar. They’ll obviously have put their spin on their sound’s legendary classics, for example tracks like Louie Vega & Mood II Swing’s “Harddrive,” KMS “World Of Deep”, Romanthony’s “Let Me Show You Love”, or they’ll just remix a straight-up classic like ’Sun Is Shining by Bob Marley. You simply cannot call yourself a world-renowned musician without the proper accreditation, awards, and features: massive compilations on globally dominant labels (Fabric, Get Physical and Defected), recognition as top-ranking in their class by music’s forefront publications (Mixmag’s Top 10 DJs, DJ Mag’s Best of British), and covers on electronic music’s biggest magazines (DJ Mag, IDJ and De:Bug). Credibility further expands via collaborations with other notable musicians; a credible producer whose sound infected the mainstream (someone like Switch), add someone who paved the way for their influenced sound (let’s say Henrik Schwarz), a trend-setting trailblazer (Claude Vonstroke, for example), maybe add in a living legend (like Leon Ware, producer for Marvin Gaye) and an upcoming cool-guy (Seven Davis Jr) and complete the sentence with “cool band Hot Chip made up a rap about my name for my debut album.” With a solid niche carved for their sound, global recognition through their own remixes and club residencies, at this point they’ll probably have started their own labels, putting out releases that built new genres and topped charts. But what keeps someone like this at the top of their game isn’t just international performances and magazine covers – it’s their key role in building new artists’ careers, presence outside the world with clothing brands like Zane Robe and the odd DJ gig for a model like Daisy Lowe, radio accolades like many Essential New Tunes, an Essential Mix, Co-Hosting on BBC Radio 1 and being inducted into the BBC Pete Tong ‘Hall of Fame’ and with all that, you’re pretty much there. Follow that recipe and viola: a globally-renowned House and Techno DJ / Music Producer / Label Owner.
There it is… Over the last ten years Jesse Rose broke through by helping to create a sub-genre with the track ‘A-Sided’ on Switch’s Dubsided. He’s since set up four influential labels (Front Room, Made To Play, Play It Down and its subprint A-SIDED) which have been responsible for launching some of House and Techno’s biggest names. Jesse’s discography boasts over 200 releases, from originals to remixes, his DJ career has seen him traverse the globe a ridiculous about of times with no sight of slowing down, remaining at the world’s best, biggest, and most credible clubs, parties and festivals. Jesse Rose has always stood for quality and long may it continue.
Located deep within the circuitry of a mechanical alien host known as Maetrik you will find a complex web of synaptic dispersements resembling what could be called a soul. And this soul which drives it’s host and manipulates it’s every move is finally beginning to emerge. Its name is Maceo Plex. The emergence of such an entity has been the result of a need for feeling, a need for interplanetary funk. We as humans consider this need a feeling, a feeling rooted in emotion, and emotion being the very basis of humanity.
Maceo Plex is on a quest to fullfil his need to inject feeling and funk into the world, and he’s already proving to be quite productive. With deep and funky works of audible engineering for the label Crosstown Rebels in the form of a full length album titled “Life Index”, a night with Maceo Plex will be one of galactic proportions.
To explain the evolutionary process behind Maceo’s existance we must travel back to 1993, to the beginning of his creativity. At the start…Maceo was intrigued by a pair of circular shaped objects designed for holding discs created from vinyl that produced vibrations resulting in sound and music. Soon he began conjuring up mixxes of techno, electro, and house music that quickly gained him popularity within the early 90s rave culture. But in 1997, while Heavily influenced by the sounds of other modern funk theorists such as Model 500, Kenny Larkin, Idjut Boyz, Convextion, etc… Maceo began experimenting with hardware modules containing knobs and keys to form his early musical compositions. Seduced by the sounds of techno & electro, Maceo grew into a technologically advanced being later to be known by various names such as Mariel Ito or Maetrik.
After many years of prolific works on such labels as Treibstoff, Dumb Unit, Cocoon, Audiomatique, Modern Love, Mothership, to name a few…Maceo aka Maetrik travelled the world playing in some of the best clubs such as Rex, Cocoon, Fabric, Womb, etc…
The profound change has taken Maceo Plex from the complex and dark life in America to his current homebase of Valencia, Spain. The sunny and relaxed atmosphere has been quite useful to Maceo in his lengthy inward journey that is very apparent in his music. After a much needed retreat into the funky sounds of Parliament Funkadelic, Moodymann, Atjazz, Isolee, and Luomo, Maceo has finally completed his transormation and is shining brighter than the star Sirius….and his newest musical output reflects his radiation in a variety of beautiful colors. In late 2010, Ma- ceo’s single “Vibe Your Love” was finally released on the very foward thinking label Crosstown Rebels and includes a hefty funk remix treatment by Zev of the Wolf & Lamb clan. 2011 kicked off with the full length debut album aptly titled “Life Index” which chronicles Maceo’s life long transformation into the soulful ball of energy he is today.
Once experienced, the album will make it abundantly clear the level of versatility Maceo Plex posesses among his many auditory shells. And the world will understand Maceo’s pristine vision of house music from beyond…
Masters at Work
The two native New Yorkers have amassed an overwhelming body of work in that time, one that includes hundreds of original productions, remixes and side projects, redefining the way we think of music in clubs. Vega and Gonzalez defiantly mix everything they can find – house, hip-hop, funk, disco, Latin, African and jazz – into a universal groove.
“I discovered the artist in me on the dance floor…”
Nicole Moudaber holds true to the belief that the power of music brings us together as one. The beat of a drum, the very first instrument created by humans, remains at the heart of the music she creates and plays, while the diversity of her tastes, and her ability to create spellbinding club experiences, promote harmony on the dance floor.
Growing up in Nigeria exposed Nicole to the hypnotic tribal rhythms of artists like Fela Kuti. This was her first taste of the power of the drum, and lies at the core of her sound. Nicole moved to London in 2000 where she quickly integrated herself into the city’s club scene, becoming a promoter at Turnmills, holding her own party called ‘Soundworx’, which she started in Beirut. Her unrelenting desire to unite people through music couldn’t have been demonstrated more explicitly than that first party, where people of all races, religions and classes danced together under the stars in an abandoned, bombed-out mosque and cathedral.
Nicole then brought her party to London, building its reputation from the ground up and making it a total success. Her ability to operate ahead of the curve leading to Paco Osuna’s very first London booking, among many other luminaries from the world of house and techno. But working behind-the-scenes was not enough and she was soon appearing on the decks, building her skills as a DJ – that visionary ability revealing itself during her diverse, enchanting sets. The next step was to express her passion for music through production and she attended world-renowned music school Point Blank to learn the basics. From that point there really was no going back, she remixed Carl Cox ‘Chemistry’, which stayed in the techno charts on Beatport for three months and won her an IDMA Award in 2012.
In the years since that record hit the charts, Nicole’s career trajectory has been swift and steep. She has travelled the globe playing everywhere from intimate basement venues to large stages at festivals such as Exit, Glastonbury, WMC, Time Warp, Electric Daisy Carnival, Awakenings and many of the world’s most renowned electronic music spaces. She also curates her own MoodRAW events, taking clubbing back to those grimy, raw spaces where it first started, as well as the more intimate In The MOOD parties, which have included annual sold out showcases at WMC in Miami and BPM in Mexico.
Fuelled by a desire to keep achieving at the highest level, Nicole is working on the debut of her very own one-day festival, to be held on Coney Island, New York and she’s in discussions to host her own stage at numerous large-scale dance music festivals. She is a regular at Carl Cox’s legendary Revolution night in Ibiza, as well as being welcomed into the Circoloco family at the seminal DC10. Her performances are full of passion and drama, cultivating musical journeys designed to reach her audience on a deeper level and make each individual’s experience a memorable one.
Away from the touring Nicole has established her label, Mood Records, as a go-to platform for any self-respecting techno fan. Releases have come from a long list of techno heroes, including Carl Cox, Stacey Pullen, Joel Mull and Carlo Lio. As a producer she has also progressed rapidly, thanks to her dedication to the craft. Remix work and originals have all cemented her reputation for high quality production, which is clearly evident on her collaboration with Skin from Skunk Anansie – an emotive collection of tracks that highlight Nicole’s ability to take the listener to the deeper side of electronic music.
Her diverse tastes in music and curation skills also manifest themselves via her radio show, In the MOOD, which is produced by the same team who work on shows with Carl Cox and Adam Beyer. The show is syndicated globally, airing on 55 FM stations worldwide and is available on Mixcloud every Wednesday, spreading her sound to millions of listeners around the globe.
A fervent campaigner for human rights, Nicole studied Combined Social Sciences and was a straight A student before the music really took hold. Her passion for fighting inequality in all its forms runs deep, and she recently became involved with the Lower East Side Girls Club in New York. It’s a crucial part of her ideology and something that spurs her on to keep sharing music, spreading the love and uniting dance floors around the world.
As she looks forward to the release of her EP with Skin, a huge one-day festival, original productions for high-profile labels and remixes on her own label from some of the scene’s biggest names, Nicole presides over an empire that continues to grow in stature and the future looks full of exciting prospects.
Nicole Moudaber is a professional, innovative, hard-working artist who has become a contemporary icon. From her long, curly locks to her slamming techno sets and her intense, empowering performances, she truly stands in a class all of her own…
Seth Troxler is one of dance music’s most recognizable characters, the guy with the big hair and the even bigger personality who doesn’t take himself, or life, too seriously; a straight-up human being who plays by his own rules. These qualities, along with his passion and seemingly endless knowledge of house and techno, have established him as a figurehead for a new wave of underground electronic music that flies in the face of the disposable idiocy of mainstream ‘EDM’.
“I’ve always been kinda bat-shit crazy”, explains Seth. With his sporadic dreadlocks and well-twizled ‘tache, he comes across part streetwise Lothario, part Napoleon Dynamite’s creepy older cousin. Descended from a family of cowboys and Baptist preachers, he’s part African-American, part Egyptian, part Cherokee Indian but while his heritage is all-American his global outlook transcends his small-city Mid Western origins.
Seth was born in Kalamazoo, a college town in the centre of Michigan half way between Detroit and Chicago, when his mum was just eighteen. His parents split when he was two but soon after his mum met his step dad who hosted a local radio show in his hometown called ‘Fade2Black’. “He’d play hip hop and early house,” recalls Seth, “but after midnight it would switch over to a show called ‘The Love Zone’ which was straight up fuck-jams. His DJ name was ‘2 Fine’ which was also his car registration plate. He was my father figure.” A pre-teen Seth would be allowed to stay up late and sit with him in the studio. “Being surrounded by that much good music from such an early age there was never an option for me not to become a DJ.” When Seth was fourteen his mum married his step dad and moved to the outskirts of Detroit, “This was a really big jump for me, losing all my friends and moving to such a big city.” A year later his house burnt down and he lost everything apart from, by a strange twist of fate, his turntables and mixer that he’d left at a friend’s house. “After that I dropped out of sport at school and decided to spend all my free time playing records.” His step dad was into early Chicago house like Dance Mania and Trax but living in Detroit he started going to underground techno raves. “I went to the same high school as Matt Dear and a friend of mine’s brother used to go raving with him.” Soon after moving to Detroit Seth threw his first illegal party and booked Magda to play for him. At fifteen he landed a job as techno buyer in Detroit’s ‘Melodies & Memories’ record store working alongside deep house legends Theo Parrish and Mike Huckaby.
Through working in the record store he met Ryan Crosson, who would come in to buy vinyl from him, and through Ryan met Lee Curtiss and in turn Shaun Reeves who used to throw many of the most notorious illegal raves in Detroit at the time. It wasn’t long before Seth had moved in with Lee and the four found themselves throwing their now infamous ‘Tesh Club’ parties in Lee’s basement (a name taken from the German pronunciation of techno as ‘teshno’). It was there that the magic really began to happen; experiments in psychedelic substances and scientific examinations into the history of house and techno brought about a deep bond between the four, laying the foundations of what would later become their Visionquest partnership. This honeymoon period came to an abrupt halt when Shaun got robbed after a successful New Years Eve party and decided to quit Detroit and make a fresh start in Berlin. It was only a matter of time before Seth, Ryan and Lee followed suit.
Moving to Berlin was the making of Seth both as a DJ and producer. Just a week after his arriving in the city, having only just graduated from high school, Seth found himself booked to play infamous Panorama Bar alongside Omar-S. He flourished in the permissive German city, and was soon resident at Club der Visionäre, as well as playing regularly at clubs all over world like fabric (London), Watergate (Berlin), Output (New York), Warung (Brazil), Womb (Tokyo), Tenax (Florence), Robert Johnson (Frankfurt), The Rex (Paris), Fuse (Brussels), The Electric Pickle (Miami), plus festivals like The Detroit Electronic Music Festival, Glastonbury, Coachella, Sonar and Burning Man. Meanwhile, in the studio he has collaborated with such dance luminaries as Matthew Dear, Art Department, Tiefschwarz, Deetron, dOP and Subb-an in addition to groundbreaking remix work done as Visionquest, who have remixed tracks by Tracy Thorn and David Lynch (yes him). Together their Visionquest project has spawned one of the most exciting techno labels of recent years, plus a multi-deck DJ spectacular that saw the four of them rolling out their Visionquest Thirteen world tour throughout the whole of 2013. The combination of these achievements, alongside constant touring, have resulted in Seth being voted number three, then two and then one in the Resident Advisor Top 100 DJs poll between 2009-2012, and since then he has consistently remained within the top 5 DJs as voted by Resident Advisor fans.
Last year, Seth consolidated his position at the top of the DJ ladder through his ‘Seth Troxler Goes Clubbing’ concept, returning to those nightclubs that were integral in moulding him into the DJ he is today: with quarterly appearances at fabric (London), Trouw (Amsterdam), Output (New York) and his usual 10 week residency at Circo Loco across the summer. He also began a new project with The Martinez Brothers – Tuskegee – aimed at shining a light on Afro-Latino American dance culture, as well as launching two other record labels: the dance floor focused ‘Play It Say It’, and indie rock label ‘Soft Touch’. The year also saw Seth return to the studio: the Tuskegee label was launched in true analogue style with a raw collaboration between Seth and The Martinez Brothers, titled ‘Space & Time’. Since then Troxler has also teamed up with production partner Phil Moffa for a release ‘Rogue Music EP’ out on Hypercolour at the beginning of the new year, as well as finishing a number of solo productions to be released throughout 2015.
This coming year will see Seth expanding his Tuskegee brand with The Martinez Brothers, taking it beyond the confines of club culture and into the wider populace, with the aim of introducing the kids of ethnic backgrounds to a world that they may not have thought existed. Simultaneously, the Tuskegee crew will be touring with a number of shows at various venues across the world. In spring, the JESuS concept will come to life: an experiment perfectly in tune with the dance music zeitgeist, JESuS is the summation of four of the biggest players in the contemporary DJ world: Jackmaster, Eats Everything, Skream und Seth Troxler. Kicking things of with four dates in the USA sandwiched between the Coachella weekends, and following up with a six date bus tour through the heart of Europe. Coupled with innovative video documentation of both legs of the tour, JESuS looks set to be the most unique clubbing experience of 2015. In addition to these two mammoth projects (as well as the usual list of DNA club shows and summer festival appearances) Seth also has plans to expand his Smokey Tails restaurant brand and open a new venture – Disco Dogs – which will be selling traditional all-American hot dogs from within the heart Old Street roundabout in London.
Tale of Us
Tale of Us are Berlin-based DJ and production partnership Karm and Matteo who are currently re-writing the rulebook for deeply moving, emotional electronic music. Together they share a sonic vision that pulls together elements of house and techno with influences from pop, nu-disco and even rock music. While all of their productions are instantly recognizable as Tale Of Us, these range from straight-up dance floor jams to low-slung ambient tracks and more abstract compositions. While both originally hail from North America, Karm was born in Toronto and Matteo in New York, they moved to Italy as children, which is where they met and formed the close working bond that they now share.
The Martinez Brothers
The Martinez Brothers, two young men from the Bronx, raised on their father’s love of the Paradise Garage and road-tested worldwide before they even left high school, are emerging as leaders in the global house music scene. The guys have held a residency at DC-10 in Ibiza since 2011, and in 2014 their standing within the world of underground house and techno is solid and constantly rising – their DJ sets are full of energy, fuelled by the brothers’ in-depth knowledge and an innate ability to guide the crowd.
The Martinez Brothers have produced a number of dance floor-ready releases since their earliest days at Objektivity, releasing their first EP, “My Rendition” in 2006 under the guidance of Dennis Ferrer. Other highlights include one of 2013′s big underground Ibiza hits, Santos Resiak’s “A Better Light” (The Martinez Brothers Remix) on One Records. Their ubiquitously popular remix of Green Velvet’s “Bigger Than Prince” (Circus) was named the most-played dance track at ADE 2013, further showing their range as producers and delivering a dark, raw groove with cut-up vocal accents. In late 2013 / early 2014 they released the two-part hip-hop mixtape “Warhol/Basquiat,” which Philip Sherburne named SPIN Magazine’s Dance Track of the Week, saying: “At their best, their beats have a quizzical, psychedelic feel, stretching loops of Donna Summer and George Duke into long strips of taffy and turning up the humidity until they dissolve on their own.” This year they’ve teamed up with DJ Gregory / Point G with “What’s the Point?” the first release on his new label, Ever Lasting LovE.
2013 marked the beginning of their homespun event series Mad Beats & Crazy Styles, offering the brothers a space to explore their New York dance music roots. They have also conceived a new record label, Cuttin’ Headz, which will be a home to their musical experimentations. Also this year comes the premier of Tuskegee, the brainchild of The Martinez Brothers and Seth Troxler. Using the black and Latino musical experience in the US in the early 90s as inspiration, TMB and Troxler will be putting out a series of vinyl-only releases as well as a clothing line.
Earlier this year, The Martinez Brothers broke into the world of high fashion by traveling to Paris to provide music for Riccardo Tisci’s Givenchy Menswear and Womenswear Fall / Winter 2014 /15 collections. The track “Flawless” has already been featured in a Style.com exclusive preview of the Nike RT Air Force 1 Collection, offering a first glimpse of Riccardo Tisci’s collaboration with Nike.
This year alone the guys have been all over Europe and the Americas, they’ve premiered in Australia, and have plans for a tour of Asia. While on the road they created a behind-the-scenes Coachella photo diary for Rolling Stone and Nylon Guys. Production-wise, they’ve laid down some studio tracks with the legendary Nile Rodgers and have collaborated with Spanish Harlem-born hip hop star Bodega Bamz on his forthcoming mixtape. Despite the whirlwind of activity, Chris and Steve remain positive, down-to-earth guys. When asked about their achievements, they always humbly reply, “We are so blessed!”