Born and raised in the Bronx, NY, The Martinez Brothers are two of the most consistent and recognizable names in the world of house.  Stevie and Chris continue to push themselves creatively in the studio collaborating with global and Latinx artists such as Rauw Alejandro, Fuego, Rema and Tokischa. 

In 2023, we find The Martinez Brothers in a moment of creative renewal, kicking off an exciting new chapter in their illustrious career. They continue to cast a wide net with their collaborations, stepping into the studio with a new generation of artists like Eliza Rose, Tommy Genesis and Mochakk.  

The brothers are furthering their love affair with Ibiza in their second year residency at Hï Ibiza voted #1 Club in the World, after 10 years as residents at Circoloco, Ibiza. Paying homage to the isle that catapulted them to stardom, it was in Ibiza that they met Riccardo Tisci who brought them in to do the music design for his iconic years at Givenchy (2014-2015). 

Last year, the brothers headlined London’s hottest show of the year at Beams warehouse alongside Skepta, who debuted his first house music DJ set in his hometown.  Alongside this, they played the Met Gala afterparty hosted by Dua Lipa and at LOEWE’s Paula’s Ibiza pop up at the Sheats-Goldstein home in LA. 

In 2023 stage hosts include Kappa Futur Festival in Turin, Italy, Panorama Festival in Southern Italy, Eastern Electrics, London, Fabrik, Madrid, Audio Obscura at Amsterdam Dance Event and III Points Festival, Miami. 

The duo are avid sneaker collectors and vinyl record collectors, from all eras of Latin salsa, disco, funk, soul, jazz house and techno.

One of the most charming DJs in the business. A musical ambassador and a veteran of acid house, a champion of techno, a dance music pioneer, label owner, King of Ibiza – you name it, Carl's been there and done it, never losing sight of his passions – playing music, breaking tunes.

Entrepreneur Andy Frisella and his guests discuss, debate, and laugh their way through trending topics and hot-button issues.

(This is also the home of Andy's other show, the top ranked MFCEO Project Podcast.)

The tale of Danny Tenaglia's love affair with music, and the world's subsequent romance with him, is one of the critical veins in the body of dance music. He is every dancer's secret discovery; a random purchase at the record store, a reluctant night out that unexpectedly turned magic. Explosive success came not behind a major label release, or a world tour, or a radio hit remix: It happened when enough people had the private Tenaglia experience for themselves.

The momentum started building in early '70s New York, when a barely 10-year-old Danny first got the feel of vinyl in his hands. Enthralled by the music of artists like Philly Soul's The Trammps, Motown's Marvin Gaye, African trumpeter Hugh Masekela, and disco producer Giorgio Moroder, he started to collect records, plumbing the depths of each one, and frequently finding that he preferred the B-side to the A. It was 1979 when he discovered legendary nightclub Paradise Garage, where DJ Larry Levan's rich, genre-less blend of music seemed to mirror his own "no boundaries" policy. It was here where Danny found the club model he would one day emulate: Levan's bold style, the venue's plain décor, and the party's warmth and inclusiveness.

Danny left New York in 1985 and launched a successful DJ-ing career in Miami as a resident at Cheers nightclub. There he schooled the locals in classic New York and Chicago house, but five years later he returned home, tired of only playing other people's music. He started to assemble an impressive roster of remixes, including Right Said Fred's "I'm Too Sexy" (1991), Jamiroquai's "Emergency on Planet Earth" (1993), and Madonna's "Human Nature" (1994). But his first epic was The Daou's "Surrender Yourself" (1993): With the kick in the bass and the underlying rhythm as the foundation, Tenaglia blanketed Vanessa Daou's wispy vocal with grand, thick chords, a combination of classic groove and modern club-ready depth that was, at the time, entirely new. The title of his 1995 debut artist album on New York's Tribal Records described it perfectly: Hard & Soul. But even if the cocktail was his own, Tenaglia never hesitated to declare how heavily his influences weighed in his productions - everyone from Patti LaBelle to Kraftwerk, with countless lesser-known Soul, R&B, Latin, Samba, and Disco artists in between.

In 1996, after a brief stint at New York superclub Roxy, Danny landed a Saturday night residency at white-hot Twilo, a position that upped his profile but didn't satisfy his expanding artistry as a DJ and producer. While New York swooned for big-room diva anthems, Danny was turning his ear toward the more minimal, tech-y grooves originating in European production studios. This period produced solid remixes like Grace's "Not Over Yet" (1996) and Janet Jackson's "The Pleasure Principle" (1996), but by the time he moved to Tunnel in 1998, Danny had already created "Elements," an instant classic that caused the dance scene's collective jaw to drop. With his own warped voice providing the narration, "Elements" (one track off full-length Tourism) walked the listener through the different components of a dance track in real time, going from kick to drum loop to snare hit, letting each layer over the other until the track exploded with dark, drum-heavy energy. Next to ostentatious radio anthems, its simplicity was a revelation. 

It was around this time that the murmurs started to get louder: Who is this Danny Tenaglia, and just what does he do to people? Clubbers reported seemingly inhuman mixing capabilities, booth-to-floor telepathy, and the grittiest "modern yet classic" grooves they had ever heard come out of a speaker. A trio of label compilations - Mix This Pussy (1994) and Can Your Pussy Do The Dog? (1995) for Tribal, and Gag Me With A Tune (1996) for Maxi - were the first Tenaglia sets clued-in clubbers could take home to dissect, but the release of his first installment in the UK-based Global Underground series of DJ mixes, titled Athens (2000), lit the international fire. Athens (meant to reflect the set he played at the Greek capital's club King Size) remains one of the darkest, strangest, sexiest sets ever released, and its tame cover photo of a gentle-looking man in a Yankee cap just didn't seem to fit. DJ dates across Europe dispelled the mystery and started the spread of the infectious Tenaglia fever.

Back in New York, Tenaglia was tiring of the cavernous gloom of Tunnel and longed for a weekly home that better resembled where the DJ bug first bit him - the Paradise Garage. He landed at Vinyl, a black-walled, single-environment, no-liquor club about one-quarter the size of Tunnel. He named the night "Be Yourself," after the self-affirming, heavy-bottomed vocal track he had recently recorded with Chicago's Celeda. And he took the name to heart: Without the pressure of bar minimums or an expectant crowd, Tenaglia spread his DJ wings. Next to new tracks by young producers like Rui Da Silva, Peace Division, and Saeed & Palash, he played the artists of his youth, with nary a beat dropped. If he wanted to launch into a two-hour set of straight-up techno, he did. If he wanted to play old Michael Jackson records, he did. If he wanted to get on the mic and tell the crowd the name of the sound he was about to play, or who next week's guest opening DJ would be, or just give everyone a "verbal handshake" to welcome them to the club, he did. And a city tired of drama embraced the barebones, music-centered night. 

The world caught up to Tenaglia in 2000. His annual party during Miami's Winter Music Conference outgrew its home at the cramped Groovejet and moved to just-opened superclub Space. DJ giants like Carl Cox danced on top of the speakers with the Deep Dish boys, Fatboy Slim mingled on the patio, and for a day the ego inherent to DJ culture evaporated: Tenaglia was hailed as the undisputed king, the "DJ's DJ." His roof-raising revamp of Green Velvet's "Flash" won "Best Remix" at the UK's Muzik Awards, where he was also awarded the "Best International DJ" prize. 

In the two years that followed, Tenaglia released another Global Underground installment (London); toured the world, took the party island of Ibiza by storm, remixed Billy Nichols' "Give Your Body Up To The Music" (a Garage anthem); got nominated for a Grammy (for his remix of Depeche Mode's "I Feel Loved," also nominated for Best Dance Song); returned to Twilo for two special gigs - a President's Day marathon with Carl Cox that shattered all its attendance records, and the club's sixth anniversary party with John Digweed, which turned out to be even more meaningful than it seemed at the time (Twilo was shut down permanently a week later); graced the cover of every major dance music magazine; and won a Dancestar Lifetime Achievement award... all while keeping Be Yourself buzzing every Friday. 

In 2003, Danny came full circle with the release of Choice: A Collection Of Classics, a two-CD mixed compilation that let him pay direct tribute to many of the artists who had influenced his sound and style. It featured everyone from Blaze to Adeva to Imagination, as well as hefty liner notes explaining the significance of each track, penned by the man himself. He also remixed another Garage classic (Yoko Ono's "Walking On Thin Ice," which became her first Billboard number one ever), opened another Space during Winter Music Conference (the new location down the block), and took another Dancestar award, this time "Best Party" for Be Yourself. 

Be Yourself took the same honor again in 2004, but this time the win was bittersweet. At the time of the ceremony, Vinyl, now called Arc, had already been sold to developers. Danny closed the classic club on Sunday, April 25, 2004, with an emotional set that lasted well into Monday afternoon, and culminated with his mix of Kings Of Tomorrow's paean to unending love, "Finally."

And as in every year since his DJ odyssey began, all across the globe, from Acapulco to Tokyo, more people experienced their first night with Danny Tenaglia, that clubber rite-of-passage that forever changes how you listen to music, go out to nightclubs, and think about DJs. 


NIGHT LIGHT RECORDS is the powerhouse behind a mounting stack of tracks birthed from the warped minds that exist on techno’s murkier outskirts.

NIGHT LIGHT RECORDS has been clocking up plaudits for its roster of releases featuring the cream of the techno heartland’s throb-meisters. 

Vinyl and digital outings have made some serious damage on charts and online stores across Europe, and have attracted the support of DJs clamoring for bleeding edge sounds.

NIGHT LIGHT is the brainchild of pioneering Bosnian DJ duo Sinisa Tamamovic and Mladen Tomic. As principles in the techno/minimal field, their reputation was established by a clutch of darker hued tracks and well-received remixes on genre leading labels. NIGHT LIGHT has continued in that throbbing vein, releasing to rapidly growing success.

Extending their appeal still further, off-shoot label NIGHT LIGHT SLOW EDITION presents a more easily-digestible side of techno, minimal and tech house that is set to worry the mainstream while retaining a trademark edginess to their sound that steers it left of centre.

NIGHT LIGHT vinyl is distributed via established Dutch network TRIPLE VISION, while their NIGHT LIGHT DIGITAL versions are widely available to download.


BEATPORT PROFILE CHECK IT HERE: https://www.beatport.com/en-US/html/content/label/detail/9495/night_light_records

I'm addicted to DRUMS and I'm a slave to the Dark Beat....

As one of the longest standing independent record labels in the US, Nervous Records has built its reputation through a willingness to take chances on new sounds and new producers. Nervous was the first American label to sign and release tracks from such dance industry luminaries as Armand Van Helden, Paul Van Dyk and Nuyorican Soul. This spirit has enabled Nervous to build a catalogue of hits that spans the complete range of underground dance and hip hop genres.

The label was famous almost immediately when it started back in 1991 because of its eye-catching, very distinctive cartoon character logo. In addition the first three releases were produced by Roger S., Kenny Dope, and Todd Terry respectively, representing the three best house producers of that time. By 1992 Nervous was featured in magazines like Billboard, DJ Magazine (cover story), Mixmag, and ID, hailed by all as the “Sound of New York nitelife.”

Nervous’ first major dance release came in 1992, with “Feel Like Singing” by Sandy B. Nervous decided at that point to focus its energy on expanding the label’s musical field. The label’s first step outside the house music arena was with the Brooklyn, NY-based rap group, Black Moon, whose single “Who Got The Props” virtually put Brooklyn back on the map as a center of hip hop. At the same time, the label decided to alter the Nervous character for this release, giving it specific hip hop characteristics, and calling the hip hop label Wreck Records. Massive success followed with the Wreck imprint, as hits soon followed by Smif-N-Wessun, and Funkmaster Flex.

Nervous decided to continue to expand its musical boundries in 1993 by signing Mad Lion, which would be the first reggae artist on the Weeded imprint. Once again, there was huge success as Mad Lion’s single “Take It Easy” sold over 250,000 units.

Meanwhile, the Nervous merchandise continued to produce massive sales numbers as it established itself as one of the most favored t-shirts for the youth cultures of America, Japan, and many European countries.

In 1994, the label decided it was time to move into the electronic genre, and started an imprint called Sorted. The first artist on that label was Josh Wink, who went by the artist name Winx. While Winx’s debut release was a critical success although not a major seller, Winx’s follow-up release “Don’t Laugh” became the American dance community’s most talked about single, and ended up selling several hundred thousand units worlwide. Subsequently Nervous released Winx’s debut album, “Left Above The Clouds.” This album was one of the first “electronica” albums to be released, and lead to Josh Wink being signed to Sony as an artist. Nervous also released an album by two Long Island based dj’s, DJ Micro and Vicious Vic. The album, entitled “Progress Into Our Future,” since became a seminal album for the crew of Long Island dj’s that currently dominate clubs with their hard trance sound.

In 1996, Nervous virtually single-handedly created a garage house music revival by releasing the debut solo artist album by house music legend Byron Stingily. Byron was formerly the lead singer of gold-selling group Ten City. His second single on Nervous, “Get Up,” went to number one on dance charts around the world, including the Billboard Magazine club chart in America.. For his album, “The Purist,” Nervous assembled an all-star cast of legendary House producers, including Frankie Knuckles, Masters At Work, David Morales, Basement Boys, Maurice Joshua and MK.

As the musical trends continued to evolve in the late 90’s, Nervous continued to create new imprints to remain at the cutting edge of all independent labels. Nervous Dog was created to accommodate the emerging harder-edged house sound of New York; Strapped was the home for uptempo, club oriented hip hop Party tracks; and Nervous Chill released the down tempo, jazzy grooves that are always in vogue in the newest restaurants.

The label also has had many successful tours over the years. One of the biggest was in 2,000, when the Nervous tour was sponsored by Playboy Magazine and KAMEL cigarettes, and featured DJ’s Jackie Christie, Razor-n-Guido and DJ Escape, along With PA’s by Nervous artists Byron Stingily, Charlotte And Kim English. In addition, Nervous created what became one of the Winter Music Conference’s most original Parties, the Nervous After-hours breakfast at Denny’s, which featured an International list of dj’s entertaining conference attendees at 5:00 AM while they ate their grand slam Denny’s breakfast.

In 2000 and 2001, the energy tribal sound dominated the US club and Nervous gave America’s club-goers four of the its most dominant anthems, “Skin” by Charlotte, “Ssst…Listen” by Jonah, “Unspeakable Joy” by Kim English and Dive In The Pool by Barry Harris featuring Pepper Meshay. During this same time, the label has also created many successful compilation series, among them “Hip Hop Independent’s Day,” and “Future Progressive,” and “Club Nervous.

As the hits grew in number, so did the value of the catalogue for sampling purposes. Nervous songs have been sampled in major hits by Mariah Carey, New Edition, Coolio, Flip Squad, Basement Jax, George Michael, Soulsearcher and more..

In 2006 Nervous gave the US one of the biggest dance radio records with What A Feeling by Peter Luts & Dominico, a track which won the 2007 WMC award for Best Euro Dance track. In addition, Nervous delivered the most memorable US underground track of the year with Ralph Falcon – I Need Someone, which was also number one club record of 2007 according to Billboard Magazine.

In 2008 Nervous had two of the top five most played records of the year at dance radio, with Bellatrax feat. Sophia May/I Can’t Help Myself and Every Word by Ercola featuring Daniella, and ended the year as the two most played label at dance radio in the USA according to Billboard Magazine.

Nervous has also made a strong foray into the compilation market, building a roster with some of the most credible house music. The past twelve months has seen full length cd’s from Oscar G, Ralph Falcon, Funkagenda, Mark Brown, Behrouz, Chris Lake, Starkillers & Austin Leeds, DJ Theo, Exacta and Marlon D. Second half of 2009 will see releases from Danny Krivit, Frankie Knuckles, Tom Stephan, Peter Bailey and Richie Santana and Anane (produced by Louie Vega. 

In the grand tradition of Nervous launching sub-labels to embrace the next sounds to take over Nitelife ... In 2011 we launched Nurvous Records.  With the Indie Dance / Nu-Disco sound that has erupted from England and is now barreling towards full speed in America, one of our primary goals is to provide innovative homegrown style; and bringing back emotion to the music, squashing the over-commercialized big-room invasion.

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