Suche:high headz

MMOTTORR is a new collaborative project between Tr One and New Jackson and the 1st EP marks an exciting fusion of both artists' sounds combined with a fresh take on machine music, blending influences from Chicago and ghetto house, deeper acid textures, techno and use of classic samplers and voice modulation to create 4 dancefloor orientated tracks.

EP 1 features four tracks from the Irish artists that push the boundaries of hardware based production, offering a captivating exploration of sound and influences from both artists.

The lead track U LIKE IT RAW (RED HOT) offers a ghetto house influenced track with a booming low end and persistent bassline containing a dual pitched vocal to devastate dancefloors.

Following that is RED EYE DRIVE a high tempo 4/4 drum machine and tom driven track with hints of hi tech soul and classic acid.

On the B side we have WANNADO - A booming 808 and snare combination contains a powerful yet melodic acid line which ups the heat and energy with a crescendo of sampled sound and fizzing low end.

Finally on a deeper level HEADZ VOL.3 takes it back to a classic "plus 8" and Detroit influenced track with a recurrent wave of sound and synthesis building and weaving towards the end of the record.


The EP will be available on limited vinyl and digital starting exclusively with bandcamp. Thanks for supporting underground music. "

We're thrilled to welcome Shimpei Watanabe to the label as we continue to build on the Tokyo-Cologne connection. Bringing his versatile talent from Tokyo, he delivers three fresh tracks. This limited vinyl release opens with No Cab Around Here an acid piece in true 303 style, enhanced by deep dub chords. A2 highlights Shimpei Watanabe's signature funky basslines and groovy drums, creating a lively atmosphere. On the flip, B1 introduces a smoother, Chicago-style groove adding a refreshing change of pace. The record’s finale features an energetic remix by Cologne's own Stikdorn - an analog dub techno jam that seamlessly aligns with the label's early releases.

When Chuck D proclaimed "Bass, how low can you go?" on Public Enemy's anthemic 'Bring the Noise,' maybe he was pre-empting or inciting the 10,000 fathoms-deep, spine-bending basslines and sub-quake tremors of 'Implosion.'

Implosion is a crushing split album, appropriately released on The Bug's own PRESSURE label. Mapping out a new form of spectral dub, the sound is deliberately immersive, introverted, and yes, definitely implosive. In pursuit of heavy lids, blurred vision, and merciless bass bin punishment, it’s one part meditation, two parts low-end theory, and essentially a confession of devoted sound system addiction.

As expected from a tag team featuring British soundlab explorer and 'London Zoo' composer Kevin Martin, aka The Bug, and Michael Fiedler, aka Jah Schulz—a long-time graduate of Germany's new school of sound system reggae culture—the duo approaches their target differently yet share the goal of keeping their sound "raw" (Fiedler) and "brutally minimal" (Martin). This proves that opposites can attract, even if their tools are different and their methods sometimes diverge.

From such a disparate combo, hailing from different geographical and aesthetic backgrounds, contrasts are certainly on display, even within each artist's own contributions. From the melancholia and transcendence of 'Alien Virus (West Indian Centre, Leeds),' to the duality of ascension and descension on 'Hope,' or the Sunn 0))) in dub, visceral drone of 'Dread (The End, London),' to the tripped-out repetitions of 'Midnight,' which reinvents Chain Reaction for post-millennials, the result is both sacred and narcotic. Each track illuminates the emotional impact and atmospheric pressure being explored across this deceptively sparse album—a mastery of tone and texture.

This collection might be as reduced, minimal, and deep as The Bug has ever gone, perhaps echoing the solemnity of his recent Kevin Richard Martin Black release and invoking the futurist steppas self-pioneered on his previous Pressure album. Alternatively, Fiedler‘s Ghost Dubs project ventures into his most heavyweight direction yet, which is no mean feat considering his previous, the critically acclaimed album Damaged, was a monstrously massive triumph of analogue weight and enviable sound design.

Implosion is ice-cool, a stark contrast to the warmth and sociability of traditional Jamaican roots and the current trends in digi-dub. Instead, the mood is soaked in tension and intense dread, finding an unexpected melting point where classic dub's stark rhythm attack, isolationist ambience's eerie drift, dub techno's floatation strategies, and even the relentless riffs of doom metal collide. As the bass-obsessed pair drop what is arguably the heaviest ambient dub album to emerge from any electronic sector—a moody counterpoint to The Orb's fluffy clouds, etc, Martin has cited The Roots Radics, Black Jade, and On U Sound's Pounding System as heavily influencing his approach to the album, while Fiedler has expressed his admiration for Adrian Sherwood's productions and Rhythm & Sound's enchanting soundscape. Yet, the super heavyweight pulsations, emotive resonances, and bone-rattling vibrations detonated here effortlessly go far beyond these influences.

Shadowy and elusive, there’s a mysteriousness at this record's core. A haunting moodiness oscillating between nostalgia and future shock. Despite the deadly fixation with SLOW and HEAVY, the album maintains a totally hypnotic swing throughout. Implosion and its lead single 'Imploded Versions' are testaments to being enveloped in bass, seduced by bass, submerged in bass, and utterly crushed by bass, as The Bug and Ghost Dubs seek to craft a new form of dub for zonal headz and Babylon seekers.

Mastered by Stefan Betke (a.k.a. POLE) at Scape Mastering studio, this record is heavy as f-ck without resorting to continuous distortion. It’s low-end worship taken to an absolute extreme, yet remains highly listenable and definitely danceable, albeit at the slowest of paces. Sacred and narcotic, this is low-end worship amplified to the max. Dive in if you dare.

Repress! It's safe to say that hip-hop has never seen an album like Ol’ Dirty Bastard's 1995 solo debut Return to the 36 Chambers. The brief glimpses of ODB's unhinged genius provided by Wu-Tang Clan's landmark Enter the Wu-Tang album two years earlier were begging to be expanded on to a larger canvas, and, with RZA guiding production, the album promised to give Dirty the creative license to make one of the most bizarre, entertaining and original LPs in hip-hop history. With his raspy, drunken flow and dark sense of humor, Dirty fearlessly attacks from all angles, throwing himself fearlessly into punchy rhyme attacks (“Damage,” with GZA), drugged-out party jams (the monster singles “Brooklyn Zoo” and “Shimmy Shimmy Ya”) and bizarre, grimly hilarious fantasies of sex and violence (“Don't U Know” and the R&B-tinged “Sweet Sugar Pie”). Backed by RZA's appropriately gritty, dissonant beats and appearances from the Clan, Return became an instant hit, selling over 1 million copies and earning a Grammy Award nomination for Best Rap Album in 1996. The album stands as a high water mark in the Wu-Tang Clan's collective creative output and was selected as one of the Best 100 Rap Albums by The Source magazine in 1998. In honoring the legacy of one of hip-hop's most innovative releases, Get On Down is proud to present this incredible and unique special edition of Ol’ Dirty Bastard's Return to the 36 Chambers as a double LP which contains the complete original album, remastered for optimal sound quality.

Amsterdam's Toman is set to release his first EP since 18 months ‚Dolce Far Niente‘ on Cécille Records!

Dutch producer and DJ Toman, based in the country's capital, Amsterdam, has been steadily rising up the ranks of underground house music in recent years. He has released tracks on labels such as Meta, Eastenderz, Cuttin' Headz, and NO ART. As a rising star in the Netherlands, Toman tours the globe, bringing his raw, stripped-back style to many of the hottest locations, including reputed clubs and festivals across multiple continents.

'Courtyard' opens and sees Toman fuse together crunchy drums with an amalgamation of plucked bass tones and pulsating subs alongside filter house synth licks and vocal hooks, with the vocal on the track provided by Toman himself, all dynamically evolving throughout its eight-minute duration. 'De Bongo Man', as the name would suggest, shifts focus towards a more tribal feel, merging organic percussion atop subtly unfurling synth tones, dubbed-out stabs, resonant
flutters, a weighty low-end drive, and a sturdy rhythm section.

Title-cut 'Dolce Far Niente' follows next on the flip-side, a high-octane house cut fueled by a robust drum groove, twitchy synth lines, breathy vocal chants, and multilayered, gritty stab lines. 'Good Old Sunny Day' then rounds out the release on a more stripped-back tip via bumpy reduced drums, choppy vocals, and airy, fluttering chord sequences.

Taking on Medal Headz G.B.D.F., lifted from the recent Brainwaltzera LP Itsame, British drum & bass producer Peshay turns in a driving remix in a classic UK style. Rolling breaks meet a heady reese bassline and wide-angle atmospherics, put together with all the aplomb of a skilled craftsman doing what he does best. It’s music made for the dancefloor, delivered in a timeless style by one of the heads of the early Good Looking Records & Metalheadz years.

On the B1, Brainwaltzera takes the reigns with an extended version of the original album piece – a valuable reminder of the impressive source material, reimagined in a new context. For the B2, the artist offers a previously interconnected phase of Medal Headz G.B.D.F. up as a track in its own right. A spellbinding IDM reduction, it’s wrought with all manner of synth flourishes, elegant drum machine rhythms, and warping synths – a neat closer that offers a new and intriguing approach to an LP highlight.

a Medal Headz G.B.D.F Peshay Remix
b Medal Headz G.B.D.F Extended
[separated]

Luuk van Dijk has unveiled his hotly-anticipated debut album First Contact, out 11th November on his own Dark Side Of The Sun label. The Dutch DJ and producer’s maiden LP is the end result of a long and intense voyage of discovery.

Years in the making, it’s a project that Luuk can fully stand behind and be proud of. Next to a search for his own identity and his own place in music, it has also become a passage
through time.

By far his largest body of work to date, the 13-track release kicks off with the suitably-titled ‘Cosmiq’, a deep, grooving sonic exploration that immediately sets the tone. “Because of this
track I wanted to make an album to showcase my other kind of music that people won’t maybe expect of me,” Luuk explains.

Next up is the shimmering, ethereal sounds of ‘Love You’, a track that features the irresistible vocals of US singer-songwriter Dawn Richard and will be released as a single in October. “She really brought this track to a whole new level,” says Luuk. “I couldn’t be more happy with the result.”

Further collaborations come in the form of ‘Wolf’, a majestic, strings-led house cut featuring Steve Burton of oneofmanysteves; ‘Master Plug’, a deep, jackin’ number with Chicago artist
Kid Enigma; and the Detroit-indebted ‘Together We Rise’, punctuated by the spiritual vocals of MC Roga. “I tried making a track the way they used to make music,” Luuk says of the latter.

“With as few machines as possible, just a mixer, sampler and some synths.” Additional highlights include the enchanting ‘Let The Bass Kick’, orchestral ‘Lightning
Striking’ and hypnotic ‘Hot Stuff’, before ‘Knowing How To Love’ closes things out on a peculiarly wistful note. “The last track of the album, also a track that started as an interlude and
ended up being a full song,” says Luuk.

“This song basically sums up how I’ve been feeling the years 2020 and 2021, very emotional, sad, but also hopeful. Everything will be alright.”

One of the hottest new names coming out of Amsterdam’s bustling club scene, Luuk van Dijk is currently making waves in international waters with his infectious take on spirited house
music.

He has already released on labels like Hot Creations, Cuttin’ Headz, Solid Grooves Records and Eastenderz have established his name as a house music prodigy.

He launched Dark Side Of The Sun in 2020 with the aim of exploring a broader approach to his signature style.

First Contact represents a vivid sonic snapshot of one of electronic music’s brightest young talents.

Early DJ Support :

Jamie Jones
Marco Faraone
Carl Craig
Yuksek
Sasch BBC
CamelPhat
Paco Osuna
Stacey Pullen
Tocadisco

Between Christmas 2000 and New Year 2001 producers Ekkehard Ehlers and Stephan Mathieu recorded an album of warm, soft, delicately crackling electronic music in the space of that week. It was christened with the ambivalent title "Heroin" and was released on CD via the label Brombron in 2001 and later in 2003 re-issued on Kit Clayton's Orthlorng Musork on double-LP with remixes the pair had commissioned as expansions.

17 years later Heroin sees its first vinyl release to include all 13 tracks from the original CD track-list on this LP + 12“ set. The centerpiece "Herz" finally receives its long deserved vinyl treatment (side C, at 45rpm) and on the flip side Thomas Brinkmann contributes a mirror in a magnificent remix of that very piece on side D.

Ehlers and Mathieu were both highly prolific solo artists during the period 2000-2004, and in just two years after the initial release of "Heroin" each had produced over half a dozen new solo recordings: among them the serial masterpiece Ehlers' "Plays" (Cornelius Cardew, Hurbert Fichte, John Cassavetes, Albert Ayler, Robert Johnson) released as 5 stunning LPs in a series on Staubgold, while Mathieu's 'Full Swing Edits' spread over five 10" records plus his album 'FrequencyLib' on Mille Plateaux, 'Die Entdeckung des Wetters' on Lucky Kitchen and ‘The Sad Mac’ on Atsushi Sasaki’s Headz label were greeted to critical acclaim.

Both artists were expanding their conceptual sonic approaches in the glow of developing laptop technologies which would to these times in 2020 seem quite primitive, but these two in that period used the state-of-the-art to aid and abet their conceptual visions, while at times the duo used unorthodox experimentation - yet always had a distinctively melodic and musical form at its heart and soul.

Ehlers can be seen as a conceptualist, as a meta-musician who interrogates the mediums and methods of sound production - reflecting on the conditions and possibilities of improvisation (e.g. "Plays Albert Ayler") and exploits ideas of mutation and distortion of popular aesthetics played out within a ghostly form of divine pop beauty in his project März.

Mathieu, originally a drummer and co-founder of what has come to be known as the Berlin 'Echtzeitmusik' scene. His approach could be similarly described as working a critical analyst and researcher: Subtly and precisely working in the realm of processing as a method of intervening in melodious/harmonic analog sound sources.

Ehlers and Mathieu may not think too much about their singular productions and publications outcomes, but instead concentrate on the process and musical personality that characterizes their gesture- style itself stays in the background - and they usher a music from small minimal sound sources coaching a patient music of slow intervention - much like a refraction of light than a concrete painting or a blurred photograph - beatus accident.

And indeed, "Heroin" is an album that embraces the happy accident being made up of reduced, often very catchy and very direct micro hooks which seem laser-guided into a space accepting obvious melodic beauty in what feels like an observation of musics unfolding and revealing it's DNA, embed with for a kind of yearning for innocence and naiveté - as if Satie were on the jukebox in "The Crying of Lot 49". Not to say the music is "reduced", but rather: 'restricted' and born from acceptance of limitations, and the artists allowing the sounds to just "be.." with some incremental degrees of coercion.

The album not only sounds like that of 2 producers who are both dreamers and scientists, but that Ehlers and Mathieu chose to work with these means in a dialogue together to reduce pop music to its musical/tonal core, it is not Pop music anymore, rather a ghostly pointilistic itteration of song. "Heroin" is located at this transition, around that point at which tracks, that were or could have become pop compositions, irrevocably slip into a static harmonic nirvana. We are invited to follow the arch of Heroin in a slow-motion morphine musical haze.

Heroin sounded timeless when originally released and proof is that it remains so, one wishes that Ehlers and Mathieu would convene again for a week, a month or an entire year to continue this process of slow rumination, picking affectionately over the sounds they both love - and then maybe when everything is condensed, evaporated they would write more songs with those sonic refractive elements that remain.

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...

'I'm back to my roots and found my Latino groove again,' says Guti who wrote the album throughout 2018, starting it whilst bulleting through Japan by train, the majority crafted in the jungle of Dominican Republic, having collected and sampled native percussion instruments, and then finally mixing down on his return to Europe. 'Every song is full of rhythm and created to make you dance...'

He's not messing around; from the writhing snakelike percussion and rousing calls and cries of opener 'Aee' right through to the final mesmerising waves and farewell struts of finale 'Voladora' this an album is born both for and from the dancefloor. No overthinking, no purism, no exclusion; just unabashed physical hypnosis, fuelled for the floor, guided with gut instinct and years of groovecraft. It's the sound of an artist who's disconnected, explored and reconnected. He's older, he's wider and more in tune with his own pace and palette. One of the most diverse and explorative artists to come from Loco Dice's Desolat stable, this is Guti simplifying his passions down to an essence of everything that's magic about his roots and our shared dancefloor culture.

The highlights are in abundance; those hazy-but-persistent New Jersey organs on 'Telling The Truth', that wobbly sub on 'Red Eye', that shimmering sinewy acid line on 'Se Baila', the spicy pianos and wet horns of 'La Orchestra Fantasma', the list goes on. Each cut designed for deep mix pleasure, each cut rolling with a strong organic flavour and alluring percussive dynamics, each cut showing Guti at his most inspired, warmest, playful and ready to wrap you up so deep in a conga you'll soon lose yourself.

Cuttin Headz, cuttin straight to the chase but never cutting it fine... Let us be the first to wish you happy new year with the first ever album on the currently unstoppable label. We'll wish you a happy new conga, too. 2019's going to be a vintage and Guti and the Martinez Brothers are leading the charge.

Rich NxT's 'The Brigade' EP was a 2018 cross over highlight. Thematically linked to its predecessor, 'Hard To Be' stands as the unofficial follow up.

Rich's last outing for the influential imprint was large by any standards, spreading far beyond the FUSE dancefloors finding support from many places. Led by EP track 'Serious', which was heralded as one of the tunes of 2018 by Mixmag in their mid-year review, it got love from Seth Troxler and the Martinez Brothers at Circoloco, alongside heavy rinsing of 'Brigade' and 'Eight' by all the FUSE residents.

The 'Hard To Be' EP comes as another on-point three-track work from Rich that channels the same versatile spirit. 'Wah' is an uplifting slice of original house, mirroring the accessibility and fun of 'Serious' with a catchy riff that runs throughout. The track created an enormous buzz on the IOM group with hundreds of comments and I.D requests pouring in throughout the year, and soundtracked parties everywhere from Fuse's raves at Studio 338 terrace in London, Sonus festival and The Martinez Brother's Cuttin' Headz at ADE. 'Interrobang' is head-nodding brilliance as twisted bass and sampled attitude characterise the seven-minute peak time banger. 'On The Rocks' rounds out the EP as punchy kicks and buttery smooth bass mark this work of grooving minimalism, echoing the spirit of Fuse029's 'Eight'.

And so closes this chapter of Rich's impressive body of work. In the process it's proved what we already knew all along; his knack for providing fail-safe dancefloor ammunition for the Fuse faithful and beyond, remains as strong as ever.

Play It Say It welcome New York artist David Berrie for a first EP on the label and one that offers three dynamite pieces of punchy, high impact and inventive house music.

Raised amongst the diverse culture of NYC's nightlife, Berrie started sneaking into clubs as a youngster and since then has risen through the ranks to have now played iconic rooms like Output NY and DC-10 Ibiza. Fusing his musical history with other genres to create his own, unique style of house and techno, David has taken his passion to the studio and served up essential tunes on Hot Creation and Cuttin' Headz.

Opening the account is 'Revolution', seven superbly programmed minutes of slick and involving house beats and knotted bass. It's a restless, body shaking track to make the floor move with futuristic synths fleshing it out and bringing a vital sense of machine soul.

The equally compelling 'JB Loop' is another dynamic bit of electronic house music. Rubbery drums bobble and bounce about with wild computer sounds and infectious bass all ramping up the energy levels and making for a standout track.
Last but not least, 'Rear End' is a supple, intricately designed track with slippery synths, spinning hi hats and bass surges all wrapping around each other to make for real minimal funk. It's a track that oozes Detroit vibes and cannot fail to sweep up the floor.

These are three characterful and masterfully produced cuts of high-class dancing music.

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.

Neues Album des audio-visuellen Live-Formation Up High Collective aus Belgien auf ihrem eigenen Label Tangram. Die in Leuven basierten Künstler kombinieren instrumentalen HipHop und experimentelle Electronica zu einem neuartigen Future Soul. Zu ihren Fans zählen prominente Headz-DJs wie Gilles Peterson, Lefto oder Kutmah. Schwarzes Vinyl in bedruckten Innentaschen inkl. Download-Code.