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The female-led discodelic soul band Say She She, named as a silent nod to Nile Rodgers (C’est chi-chi!: It's Chic!”), release their sophomore album ‘Silver’ on the heels of an epic break-out year that grows brighter by the day.

The three strong voices of Piya Malik (El Michels Affair staple feature, and former backing singer for Chicano Batman), Sabrina Mileo Cunningham and Nya Gazelle Brown front the band. This harmonizing trio was formed in a classic New York tale of friends that met by following the music: the downtown dancefloors, through the

Lower East Side floorboards and up to the rooftops of Harlem.

‘Silver’ was entirely written and recorded live to tape at Killion Sound studio in North Hollywood earlier this year and produced by Sergio Rios (of Orgone). While these analog recording techniques help root Say She She’s sound in a bedrock of tonal warmth that only tape can achieve, it is also their process of cutting the track

in the moment and capturing the magic of communal creativity that has seen their sound described as “a glorious overload of joyful elation and spiritual elevation” (MOJO) and “infused with the wonky post-disco spirit of early '80s NYC” (The Guardian).

Silver, the element, is known as the metal of self-confidence and the mirror of the soul. With that, the 16-song double-LP projects not only their growth in writing with confidence, but also reflects a deeper exploration into their punk-chic, femmeforward sensibility.

Ultimately, ‘Silver’ oozes with quirk and adventure and embraces the multifaceted nature of what it means to be a modern femme. The She She's fully embrace their role as beauticians, actively reminding people of the inherent beauty in the world. They skillfully employ double entendres and humor to encourage open dialogue and fearlessly address important matters that demand attention.

The female-led discodelic soul band Say She She, named as a silent nod to Nile Rodgers (C’est chi-chi!: It's Chic!”), release their sophomore album ‘Silver’ on the heels of an epic break-out year that grows brighter by the day.

The three strong voices of Piya Malik (El Michels Affair staple feature, and former backing singer for Chicano Batman), Sabrina Mileo Cunningham and Nya Gazelle Brown front the band. This harmonizing trio was formed in a classic New York tale of friends that met by following the music: the downtown dancefloors, through the

Lower East Side floorboards and up to the rooftops of Harlem.

‘Silver’ was entirely written and recorded live to tape at Killion Sound studio in North Hollywood earlier this year and produced by Sergio Rios (of Orgone). While these analog recording techniques help root Say She She’s sound in a bedrock of tonal warmth that only tape can achieve, it is also their process of cutting the track

in the moment and capturing the magic of communal creativity that has seen their sound described as “a glorious overload of joyful elation and spiritual elevation” (MOJO) and “infused with the wonky post-disco spirit of early '80s NYC” (The Guardian).

Silver, the element, is known as the metal of self-confidence and the mirror of the soul. With that, the 16-song double-LP projects not only their growth in writing with confidence, but also reflects a deeper exploration into their punk-chic, femmeforward sensibility.

Ultimately, ‘Silver’ oozes with quirk and adventure and embraces the multifaceted nature of what it means to be a modern femme. The She She's fully embrace their role as beauticians, actively reminding people of the inherent beauty in the world. They skillfully employ double entendres and humor to encourage open dialogue and fearlessly address important matters that demand attention.

The undoubted Queen of British Soul and 2023 Olivier Award winner, Beverley Knight returns with a brand new album The Fifth Chapter - on September 29th on Tag8/BMG. The album Includes the first single “Last One On My Mind” which was ROW on R2 and the follow up “Systematic Overload ” which we expcct to also be a R2 favourite
Zoe Ball will be playing Systematic Overload as a first play on R2 on 17th September. Beverley appears at R2 In The Park on 16.09 with appearances on Vernon Kaye TOMY, Rylan KaRyoke appearance confirmed live and interviews with Graham Norton, and a Chris Evans session on Virgin. Press to include Guardian, Sunday Times, and Attitude.
The Fifth Chapter comes on the back of what has undoubtedly been Beverley’s most successful period ever as the iconic Ms Knight celebrates 30 years making music with several top 10 albums and over a million UK albums sold.
UK national TV appearances will support the album release - we expect Royal Variety, Strictly, Sunday Brunch, The One Show and BBC Breakfast news performances and interviews, while Beverley has already appeared on ITN News, and GoggleBox on the launch of the album.
Beverley will take on her biggest ever UK tour throughout October and November, to over 30,000 people, ending with a headline date at the London Palladium on November 14th. The album brings together some of the greatest contemporary songwriting talent including Diane Warren, Seb Coe, Ollie Green and Andrew Roachford, as well as co-production with the likes of AC Burrell, Jimmy Hogarth, Mitch Allen & Josh Cohen/DJ Waldie, The Fifth Chapter is a spectacular journey through the inspirations that have defined her incredible career.
Beverley has collected numerous awards and accolades including an MBE, three MOBO Awards, numerous Brit and Mercury Music Prize nominations and, most recently, an Olivier Award for her role as Emmeline Pankhurst in the critically acclaimed musical SYLVIA at London's Old Vic Theatre. She also recently appeared as a judge on Starstruck alongside Adam Lambert, and Shania Twain.

The South London formed in 2017 as a duo of bassist Josh Longman and guitarist Frank Wates, they then recruited vocalist Jenna Kyle before reaching their final form at the start of 2021 with the recruitment of drummer Kieran Weston.

After releasing three EPs, they are now gearing up for their debut album Lost In A Rush Of Emptiness, where the band felt free to experiment, always keeping true to their alternative nature. The songs on it are packed with widescreen, dreamy soundscapes that pushed their aesthetics forwards and continued the experimentation that exists at the heart of the project.

For her new album - aptly entitled Veronica Swift - the versatile artist stretches her wings and opens up her wide range of influences to share who she truly is: a once-in-a-generation vocalist with unabashed confidence.

In 2020, the previous band formation announced its breakup, leaving Nelson at a pivotal turning point musically, and more broadly, in life, to determine what came next.

Over the next couple of years, Ayala grappled with issues of loss, addiction, coping with pain, relationships gone awry, and relationships anew. He also experimented more sonically, spending countless hours in the studio jamming with friends and using (Covid) boredom as an incubator for creativity. The result of this time period is Lonely Citizen, Indian Askin's third album. Lonely Citizen finds Nelson exploring his own personal story in perhaps the band's most intimate work to date.

Musically, he nods to his Latin roots, with a focus on percussion and groove being a thread throughout the record. Simultaneously, the lyrics find Ayala taking a magnifying glass to his personal reflections on his hometown, Amsterdam.

He says on the album, "It's about feeling sick and tired, and maybe even ashamed, of the place I grew up in and what it's become. And especially what I've become while living my life here. I was born in this machine and I will forever be a part of it, yes. I just can't shake the feeling that I need to leave this noise behind."

Once again featuring the dynamic vocals of charismatic soul diva Kennedy and the talents of keyboardist/composer/producer and musical director Ondre J, this Brooklyn- based aggregation of groovemeisters brings an irresistible blend of funk, rock, soul and fun on their uplifting sophomore outing.

Das Debütalbum der Punk-Superstars RISE AGAINST von 2001. THE UNRAVELING in der Neuauflage (Remix, Remaster, Bonustracks) von 2018. Die aus Chicago stammende Band thematisiert Ungerechtigkeit und Ungleichheit, bricht weiterhin Rekorde, füllt Arenen und macht ihr riesiges globales Publikum auf wichtige progressive Themen aufmerksam. Alles begann im Jahr 2001, als ein Demo von zwei ehemaligen Mitgliedern von 88 Fingers Louie zu Fat Wreck gelangte. Es war ihre neue Band, Rise Against. FAT nahm sie sofort unter Vertrag, holten sie ins Studio und veröffentlichten ihr Debütalbum "The Unraveling". Nach der eiligen Veröffentlichung ging die Band auf Tour. Jahr für Jahr, Tour für Tour baute Rise Against langsam eine treue Fangemeinde in den USA und Europa auf. Rückblickend waren sowohl die Band als auch FAT der Meinung, dass die Produktion von "The Unraveling" aufgrund der Eile, mit der das Album veröffentlicht wurde, zu wünschen übrigließ. Nun, da die Band gewachsen ist und ihren spezifischen Sound besser gefunden hat, wurde beschlossen, das Album neu abzumischen, zu remastern und erneut zu veröffentlichen. FAT hat es dabei nicht belassen: Das Album enthält außerdem zwei Bonustracks aus derselben Zeit. "The Unraveling" ist ein Muss für die immer noch ständig wachsende Fangemeinde von Rise Against! "Rise Against sind melodischer Hardcore. Die Band zeigt, dass sie ihren Wurzeln bei 88 Fingers Louie nicht allzu fern ist, denn die Punk-Energie ist hier pur und unverfälscht. Wenn es jemals ein Album gab, dass dazu beitragen könnte, das Fingerzeigen und die Circle Pits zurückzubringen, dann wäre "The Unraveling" eine gute Wahl."

Das Debütalbum der Punk-Superstars RISE AGAINST von 2001. THE UNRAVELING in der Neuauflage (Remix, Remaster, Bonustracks) von 2018. Die aus Chicago stammende Band thematisiert Ungerechtigkeit und Ungleichheit, bricht weiterhin Rekorde, füllt Arenen und macht ihr riesiges globales Publikum auf wichtige progressive Themen aufmerksam. Alles begann im Jahr 2001, als ein Demo von zwei ehemaligen Mitgliedern von 88 Fingers Louie zu Fat Wreck gelangte. Es war ihre neue Band, Rise Against. FAT nahm sie sofort unter Vertrag, holten sie ins Studio und veröffentlichten ihr Debütalbum "The Unraveling". Nach der eiligen Veröffentlichung ging die Band auf Tour. Jahr für Jahr, Tour für Tour baute Rise Against langsam eine treue Fangemeinde in den USA und Europa auf. Rückblickend waren sowohl die Band als auch FAT der Meinung, dass die Produktion von "The Unraveling" aufgrund der Eile, mit der das Album veröffentlicht wurde, zu wünschen übrigließ. Nun, da die Band gewachsen ist und ihren spezifischen Sound besser gefunden hat, wurde beschlossen, das Album neu abzumischen, zu remastern und erneut zu veröffentlichen. FAT hat es dabei nicht belassen: Das Album enthält außerdem zwei Bonustracks aus derselben Zeit. "The Unraveling" ist ein Muss für die immer noch ständig wachsende Fangemeinde von Rise Against! "Rise Against sind melodischer Hardcore. Die Band zeigt, dass sie ihren Wurzeln bei 88 Fingers Louie nicht allzu fern ist, denn die Punk-Energie ist hier pur und unverfälscht. Wenn es jemals ein Album gab, dass dazu beitragen könnte, das Fingerzeigen und die Circle Pits zurückzubringen, dann wäre "The Unraveling" eine gute Wahl."

Deluxxe is a new post punk/new wave band from Buffalo, NY.

It was formed by Mason and Greg, and later completed with Nick, Bailey and Mackenzie, sharing members of Oi and hardcore bands such as Violent Way, Bad Blood and Exhibition. Their punk background can be heard in the music, but it’s the love for new wave, post punk, darkwave, and goth that led to creation of their debut record “If You Were Me”. Written in the cold winters of Buffalo, you can almost feel the harshness of the weather affecting the sounds that propagate from these grooves. Icy and frostbitten but somehow still relevantly civic and urban.

The Chameleons and The Sound are two main references here, but that whole cold dimension is rocked by a strong pop vein reminiscent of After The Snow-era Modern English and occasionally enhanced by an hoarseness typical of a young Paul Weller. Passionate lyricism proper of Echo And The Bunnymen and hopeless romanticism à la Sad Lovers And Giants get balanced by a sharp songwriting which keeps everything in perfect order, giving you exactly what you need, nothing more and nothing less.

You can tell some skinheads are involved here because the outcome is so tidy and neat, without losing one inch of atmosphere or enchantment. If you are wondering how something that was invented forty years ago can still sound, literally, fresh and cool, look no further because what this band delivers lives just up to its name.

When Claude was hunting for tracks to include in his 'Live in Detroit' album, he came across Chambray's 'Evenue' , which ended up making the final mix in his recorded Movement set. When we reached out to him about it, the Berlin artist sent us 4 demos and we signed them all. With an influence from the early stripped down jack sound of the Midwest, Chambray's productions add a polished style and wide range of musical character, both of which are in full display on his 'Where You At' EP. It's not easy to create a 'signature' sound that both crosses boundaries and also appeals to them all, yet Chambray's particular music feels effortless.

GAF are back!!! This time under their Estrella de la Muerte configuration and with a gateway musical behemoth double album into the cosmic unknown.
The prolific project, helmed by local Canarian anchorman Mladen Kurajica, dwells deep into esoteric rock genres and this time, they waste no time in plunging the listener into their brave new type of cosmic rock with a deeply influenced krautrock voyage of 70’s jamming and psychonautic exploration.
Recorded over three days in the cultural space of El Tanque, Santa Cruz de Tenerife, at the height of the covid pandemic of 2020 and during one of the hottest summers to date, the band entered the space with no plan in mind deciding instead to approach the recording sessions without any preconceived ideas or pre-composed songs. Clean out of external influences and ready to experiment they loaded in all their available gear, including an array of modular synths, in order to create a new approach to song writing and flesh out some ideas for a future album in situ. The very process of that search, through pure improvisation and jamming, became the album we’re presenting here.
No overdubs or subsequent edits were done, except for cutting some songs so that they could fit on the album. Almost 5 hours of recordings in total, finally reaching a 7 track, 69-minute double LP. All the reverb heard on the record is the natural reverb of El Tanque, a 16 second tail natural reverb recorded with several room mics at different locations in the venue. Eventually this became the first fully instrumental album by the Estrella de la Muerte configuration, with a line up of 7 musicians (Gaf y Estrella de la Muerte are normally a sextet).
Enter then, this inspired selection of psychedelically damaged tunes, 70’s space rock, psychoacoustics and Kosmishe inspired jamming. This is healing music for your mind altering journeys. The titled Pyramids here serving not only as a gateway to the cosmic unknown but also as an exploratory symbol of the bands willingness to freely embrace their subconscious inner flows into a cosmic collective. Ecstatic music for our times!

Legendary 2010’s indie band Crocodiles’ guitarist Charles Rowell’s new synthpop-meets-gothic rock project. Think Nick Cave crooning over Martin Rev’s minimal electronics or The Lords of the New Church-era Stiv Bators jamming with Wayne Hussey and Douglas Pearce.

After relocating from New York to France, Charles Rowell began stuffing his suitcase with various synths and samplers while taking cheap bus rides to bordering countries.

While living out of a hotel in north east Paris, he played his demos for Third Coming Records who quickly released the Bad Trip EP in 2020. Concerts became more frequent after the pandemic, with the release of Spellwound and a few have become infamous with guitars smashed to pieces, broken glasses, unruly audience front flipping onto the stage.

With Paris providing the background and a scene of friends such as avant-garde drag artist Tuna Mess and industrial techno veteran Poison Point who pushed his creativity even further, Crush Of Souls constant spirit is that it remains unpredictable and thrives on collaboration.
This is even more true with his upcoming album (A)Void Love.

Written over a period of intense insomnia that coincided with a run of shows playing guitar for Australian legend Harry Howard, Crush Of Soul’s main man Charles Rowell finally found rest after writing and recording the last song entitled World of Fear. Six months prior he had quit his job as a chef, traveled east to Prague for inspiration and returned ragged and sleepless.
Rowell’s insistence on keeping the instrumentation simple and clean came from an arduous two years of literal blood, sweat and tears. Every bit of drama, eastern excursion and sleep psychosis can be found within the walls of (A)Void Love.

Acoustic guitars and dramatic synths provide a cold wilderness for the various rhythms to inhabit; touches of minimal electronics, cold wave and synth pop can be found while the song writing remains classic for lovers of Echo & the Bunnymen and Nick Cave & the Bad Seeds.

There’s always been a thread of synth-punk, death rock and DIY noise running through all of Charles’ projects (Crocodiles, ISSUE, Flowers of Evil), however Crush Of Souls pushes harder and further into the darkness with the new album ‘(A)Void Love’.

”Guess Who’s Back” - Hip-Hop is! Das beliebte Genre ist aus der Musiklandschaft nicht mehr wegzudenken und feiert dieses Jahr sein 50-jähriges Jubiläum! Zu diesem Anlass erscheint das brandneue Album „HipHop At Fifty (50 Jahre Hip-Hop)“ mit vielen Hits aus den Anfangsjahren des Genres sowie zahlreichen deutschen und internationalen Chartstürmern. Eins ist sicher – dieses Album kommt ”Straight Outta Compton”!
Mit Oldschool-Pionier*innen wie Dr. Dre, Eminem, Snoop Dogg, Busta Rhymes, LL COOL J, 50 Cent, DMX, Lil’ Kim, Fugees als auch mit deutschen Rap-Größen wie Die Fantastischen Vier, Luciano, Sido, Apache 207, Seeed oder Deichkind hat das Album einiges zu bieten.

Ob die groovigen Sounds von ”Super Freaky Girl”, die explosive Rap Power von ”Bamba”, der weltweite Club-Klassiker ”In Da Club” oder der funky Vibe mit harschen Lyrics des Klassikers von ”The Real Slim Shady” – diese Mischung sorgt für die volle Ladung Hip-Hop!

Erhältlich als 4LP, 3CD, eAlbum und im Streaming ab dem 29. September 2023!

Heavenly Recordings release the next two volumes in their series of remixed classics and unreleased versions. ‘Heavenly Remixes 7 & 8’ sees the label going back into the archive, as well as picking off some more recent remixes, and both albums primarily feature either previously unreleased versions or re-workings available for the first time on vinyl and CD.

Heavenly have always seen immense value in the remix, a value way beyond what it might bring commercially. Since their first release in 1990 (where Andrew Weatherall overhauled a one-off single by club kids Sly and Lovechild) Heavenly remixes have been carefully curated and treated as a key part of the A&R process. It’s an opportunity to view an artist through a different prism, to play out a musical ‘what if’ scenario. It’s the kind of exploration that’s happened consistently through the thirty plus years the label has released music.



The ‘Heavenly remixes’ series continues to showcase the very best remixes, versions, meditations, re-rubs and dubs from all around the world of artists right across the roster of the country’s most exciting record label. In most cases, the albums offer the first physical release for a remix, elevating them from streaming playlists to their rightful, spiritual home on super heavy vinyl (or shiny, super-packed compact disc).



‘Heavenly remixes 7’ heads to Belfast, where David Holmes - a producer who first appeared on Heavenly in 1994 amping up the acid on Saint Etienne’s ‘Like A Motorway’ - appears as solo artist and as one third of Unloved, who get a lift right to the heart of a Vauxhall sweatbox by Horse Meat Disco. It draws a line between Amsterdam and Frankfurt as Ludwig A.F. amps up the electronics on Pip Blom’s ‘Keep It Together’. It stops off in a south London studio where super producer Dan Carey plays the desk with Toy, then relocates LA psych rock band Fever The Ghost to an Ibizan shoreline as the sun sets on the horizon. It cements Sheffield’s reputation as the home of modern British techno with the return of true originators Forgemasters. And it pitches up in front of a renegade soundsystem late night at Glastonbury as Erol Alkan’s mighty rework of Con Man gets its third rewind of the night.



‘Heavenly remixes 8’ opens with Space Afrika’s lush, ambient reimagining of the Orielles’ ‘BEAM/S’ before Justin Robertson stretches Amber Arcades’ ‘Turning Light’ into eight minutes of electronic dub. Elsewhere, Baxter Dury’s peerless ‘Miami’ becomes a string-laden electro skank in the hands of French producer Pilooski; Edinburgh’s bedroom techno genius Eyes of Others’ ‘Safehouse’ turns into an East End bathhouse courtesy of disco deviants Decius; Ashley Beedle’s Black Science Orchestra turns Unloved’s heartworn torch song into seven minutes of glimmering dreamlike percussive house and Katy J. Pearson’s freak flag is flown high thanks to The Umlauts’ throbbing filtered electro mix. It ends similarly to how it began as TONE takes

Fran Lobo’s ‘All I Want’ on a gorgeous slow motion spacewalk.

Morning Glory

Every twenty four hours is a chance to begin again and it is a renewed commitment to be involved in the cycle of nature - to play by rules set forth by something greater than ourselves that constantly resonates in the ears of those who are at peace. At the edge of each one of these beginnings, there is a brief moment that belongs to only "it". A special portion of time that directly connects to the circular motion of Space and Time. It is truth before reality. Realness before rationality. Self before consciousness.

We can feel it when we first see light and the recognize an indication that the new day has begun. It is honoring what makes all this possible.


Axis Expressionist Series.

A collection of vinyl and limited digital releases, curated by Millsart, an alias of Jeff Mills, of his most eclectic and transcendent compositions that derive from his Every Dog Has Its Day project as well as new unreleased works.

Vernacular creations that fall off from the "other side" of the Electronic Music tree, this project is designed for the experienced Techno music listener, and its goal is to reflect upon the pure artistry of the craft of storytelling. A realization between music and life.

Whereas "dancing" is the goal of Dance Music, the goal of this music is about "reflecting on the complexity and simplification of life". Soundtracks for people in their evolutionary process.

Alek Lee is back on Antinote to release his debut LP ‘You’. Covering 16 songs and crafted in theproducer’s studio over the past few 4 years, the Tel Avivian has swapped the misty aura of his first two EPs for a smoked out haze. ‘You’ effortlessly blends digi-dub, boogie, and yacht rock to create a washed out, dub-pop sound befitting of its place of recording sat at the edge of the desert and the sea. If Lee’s earlier works were defined by brooding downtempo beats with kids television vocal samples sprinkled amongst them, then the album hears the producer open himself up to the process of the singer-songwriter, getting behind the microphone and optimistically speaking words of his own.

But perhaps that may be put too bluntly. Fankly, Lee fluidly moves between crooning, whispers, gasps all the way to full on ballad style singing effortlessly and with ease. His newly develop vocal experiments are too supported by an impressive array of collaborators which can be found in the LP’s liner notes. These collaborations also help to mix far-flung musical styles into the LP. For instance, take Kol Hayom featuring Keren Ilan. It’s a laid-back tune that would sit comfortably beside Rita Lee tropicália. Or Love To Puff You Baby featuring $hkuru, which upends Donna Summer’s bodily groove into a heady bop.‘You’ is a testament to Alek Lee’s prolific exploration of his own brand of dub: shimmering off-beat guitars, low-fidelity beats and deep grooves. Oh and always a melodica line found somewhere amongst it.

Bar Musica's fourth EP is a fascinating one from Jesse Marcell with a remix by Pier Bucci. El Calvario De Los Indecisos opens up with intense minimal sounds, relentless drum and bass loops tying your mind in knots. All manner of dark and grubby sounds and effects scuttle across the groove and make this a late night head wrecker.

Pier Bucci then steps up to smooth things out and layer in some more soft and soulful late night chords. It flip the cut into a more dreamy number for trance inducing late night sets.

Last of all, Marcell offers La Fe' with it's high tempo drums, pressurised kicks and sweeping sense of minimal tech funk really getting you deep in the groove. This is a superb offering from this vital label.

The legendary producer, remixer and one half of ‘90s duo Full Intention, Michael Gray, offers up two new productions on his label Sultra. Joining forces with multi-talented signer Tatiana Owens, Gray lets loose a double header of feel good, piano laden house tracks doused in Owens’ delectable vocals.

Infekto aka Rico Tubbs aka Riku Pentti is a Finnish producer, from the city of Tampere. A long time figurehead of the Finnish dance scene, he first started releasing music under Infekto on Aquasky’s Passenger label in 2002, later launching his Rico Tubbs pseudonym on Jay Cunning’s Menu Music. And prior to all of that, he was part of the Mombfunk MC’s… you remember… Freestyler!

Here he goes back to his original musical love, hardcore rave. Four total destroyers that brings the warehouse feel… uplifting melodies with heavy bass and beats.

Teaming up with The Ragga Twins on one of the tracks and bringing in the heavy remix pressure from the one and only Marc Mac from Reinforced aka Manix and one half of 4-Hero. On top of that Nervous & Anxious also delivery a kickout punch with their remix, keeping things on that Finnish tip!

Pressed on 180g heavyweight vinyl and presented in a Amen Brother housebag with a black inner sleeve.

Bar Musica kicks off 2016 in style with a new EP from Bartomoleo that features one hot original as well as remix from Einzelnkind.

Unlike many in the dance world, Bartomoleo has formal training in classical music behind him. He is influenced by everything from jazz to blues to new wave and exploring electronic music comes naturally to him. His beats are richly detailed and expertly produced and his DJ sets are equally considered. Essentially, he has a delicate and emotive touch and that shows in this new EP.

The excellent L'Azdora is a deep and bubbly home cut with loose percussive patterns and rubbery drums full of warm human feelings. Trippy synths add a curious vibe and colourful pads help flesh out the groove. It is a turning track full of feeling and musical invention and is sure to get into the soul of all who hear it.

German Cocoon star Einzelnkind remixes and does so with a more uptempo slant. His version is slick and tech house feeling, with watery droplets, energetic drums that have real force in them and lots of fluid percussive lines that make you want to move.

This is a tidy two track package that confirms both label and artists to be right on form.

Banshee is the new record label from internationally renowned DJ/producer Brianna Price (B.Traits/Baby T). Drawing “esoteric aggressive feminine energy” from the folkloric figure that gives Banshee its name, the imprint will focus on the output of Price’s Baby T alias.

Brianna knows her way around a dance. Years spent producing, DJing, and touring under the B.Traits alias have given Price a vast knowledge of rave culture. Now, all of that experience has been put to good use as part of Baby T’s “hardcore junglist shit only” approach. Anyone who has encountered a Baby T tune in a dark basement over the years should know that there will be no messing around with Banshee’s output. Baby T specialises in hardcore rave tackle schooled by junglism, electro and darkside techno, the project’s sound was honed via releases on labels like Samurai Music and Central Processing Unit. It’s a style at once wild yet focused, untamed yet laser-precise - This is music that will make the hairs on the back of your neck stand up – not unlike a banshee’s shriek, in fact…

The first Banshee release is not a collection for the faint of heart. Each of these four cuts is primed for deployment at the point of the party when things really kick into overdrive. Fiercely danceable, and unapologetically abrasive, Baby T’s productions here can school any challenger in the electro, techno, and jungle fields yet also carry themselves with a punkish spirit that sets them apart from the pack.

‘Time Will Tell’ : A journey in reggae music from Bristol to Kingston JA.

Embark on the wild journey of a reggae-loving Bristolian youngster who travelled to the heart of Jamaica on intrepid mission to record a timeless reggae album in the 90s. ‘Time Will Tell’, a collaborative masterpiece uniting the extraordinary talents of Henry & Louis (Andy Scholes & Jac kLundie), Blue & Red (aka Rob Smith from Smith & Mighty) and renowned Jamaican and UK-basedv ocalists.A musical opus that infuses reggae's rich history into modern rhythms straight outta Bristol.

It all began in the summer of 1997, when Andy Scholes decided to trace the origins of reggae music straight back to its origins; armed with a 16-track reel-to-reel and an abundance of passion,he flew to Jamaica with a desire to record his reggae heroes over riddims built by Rob & Jack in Bristol.

Through a series of unexpected events Andy crossed paths with UB40 in the streets of Kingston.He built a friendship with the band and their lead singer, the legendary Ali Campbell took a ninterest in the project, generously giving Andy free access to his studio in Port Maria allowing him to bring life to ‘Time Will Tell’.

Scholes got in the studio with various Jamaican artists and recorded with Tony Tuff, Prince Green, and Johnny Clarke, each contributing their distinct voices and adding to the album's spiritual and conscious themes. The mystical vibe continued with the participation of other artists like Ghadian, Shalom, Pacey, Ben Dice, and Kerosene Oil, each bringing their own authentic style to the project.

The making of ‘Time Will Tell’ required time, dedication, and the synergy of a like-minded collective. The album embodies the warmth and transformative power of music serving as a driving force for positive change.

22 years after its initial release, the album is freshly remastered and reissued onto 12” vinyl by Dubquake Records!

It was almost inevitable that growing up with a love for trance would eventually result in Trance Wax releasing his own interpretations of the sound. Following on from the release of his eponymous album in 2020, Trance Wax now shifts into a fresh artistic chapter with his sophomore album, ‘Open Up The Night’.

A sixteen-track journey through nostalgia-infused modern trance, ‘Open Up The Night’ symbolizes Trance Wax’s evolution from his early days of adapting trance classics for the modern dance floor. Now homing in on his own interpretation of the genre with an increase in tempo, the Belfast-born DJ and producer created an expansive sonic palette through original productions (‘Adeya’, ‘Aslan’) as well as sample-powered productions (‘Open Up The Night’, ‘Rhythm Of The Night’) that show he means business in this increasingly popular genre.

“Listeners can expect a switch-up in BPM compared with the last album,” says Garry McCartney (Trance Wax). “It’s a reflection of what I love listening to, be it trance or other genres. There’s some drum and bass influences woven in as well as a bit of breakbeat, which adds a new dimension to the whole thing. It’s the product of a good few years of experimentation that resulted in something really fast and exciting.”

Tibi Dabo unveils his long-awaited full-length ‘Vista’ on Crosstown Rebels this September, with the kaleidoscopic nine-track album showcasing his diverse and rich sound palette.

Born in Barcelona, DJ, producer, and musician Tibi Dabo has proven himself adept at mixing the classic and the cutting-edge. From his early days touring Europe and the US with a band in which he plays the drums, the foundation for his experimentation for his work within the electronic sphere, he has since grown to become an exciting and much-loved DJ and producer, adding to his growing reputation as a Crosstown Rebels favourite. Stepping things up once more, his spirited new album ‘Vista’ is a perfect fusion of futuristic synths and compelling house grooves, all of which are masterfully designed and full of character. Following three well-received singles across the summer, the full-length is a complete sonic statement that explores deep house, leftfield sonics and widescreen cosmic vistas.

Opener ‘Water Is’ layers up fresh sound sources and playful melodies on nimble basslines that soon make you move. ‘Somewhere Beach’ is then a silky groove layered up with diffuse pads and aching synths that convey real romance, while ‘Licht’ is another masterful display of original drum programming with bursts of cosmic synth and elastic bass. ‘Useless Ideas’ then gets deeper on more low-key drums and bass. Instead, the focus is on the deft percussion and well-treated vocals that swirl and smudge around the mix to a woozy late-night effect.

The elegant ‘Mundo’ channels the machine soul of early Detroit techno, before ‘Mangabeira Manifesto’ featuring Dudu Bongo layers up wonky drums and bass with curling, soft acid sounds and a playful vocal line. ‘Triple Frontier’ picks up the pace and heads out on a high-speed cosmic house journey, all before ‘Overture’, another far-sighted astral trip with starry melodies and rich, rubbery bass, closes the package in fine style.

An expressive and adventurous yet coherent long player with a range of moods, feelings and grooves taking you to all corners of the house world, ‘Vista’ showcases Dabo’s most in-depth project to date and an album which provides the perfect platform for him to display his rich sonic universe.

Founded by the visionary mind of Masedia, Lost In Sound ignited its vibrant inception in 2017 as an unparalleled recurring series of events pulsing through the veins of Stuttgart's underground scene in Southern Germany.

Now, Lost In Sound Recordings ascends to a new zenith, celebrating its very first release with a four-track EP crafted by renowned Italian DJ and producer Otis. Behold his Euphonia EP, a transcendent journey that weaves a tapestry of emotions and casts an indescribably radiant aura on hot nights. Prepare to surrender to the cascading waves of organic sounds that will unleash a flood of joyous hormones within you.

Otis' EP "Euphonia", a masterpiece of sonic fusion, seamlessly weaves powerful house bombs with captivating influences from electro, acid and trance. This sonic odyssey promises an unforgettable experience that defies categorization. Get ready for the upcoming arrival of LISR001.

Bobby Caldwell's second album, Cat In The Hat, from 1980, is one of his greatest moments and another masterwork of soulful sophistication. Featuring the eternal "Open Your Eyes", brilliantly sampled by J Dilla for Common's "The Light", it's about as essential as records get. Like its eponymous predecessor, it's been out of print for far too long. To finally release the hugely-anticipated reissue is one of our sincerely proudest moments.

Whilst Ned Doheny is known in Japan as "Mr California", native New Yorker Bobby Caldwell has always been "Mr AOR" to his Far-Eastern friends. His distinct charm is an irresistible blend of soul, jazz, and pop influences. He possessed phenomenal songwriting prowess, smooth vocal performances, was both a great soul guitarist and dextrous keyboard player and known for genius chord progressions. It all added up to a multi-layered brilliance entering the studio, and the singular sound he landed on was laced with soulful, sweeping strings and funky horns, touching lightly on disco, while allowing his supple voice to carry the stunning tracks he'd crafted.

Right from the off, it's easy to tell that Cat In The Hat is a deeply special record. It's fantastically produced and incredibly well-rounded, carving its own lane with deep soul, warm jazz and a stunning vocal delivery that really helped Bobby reach out to some big new audiences at the time. Goosebumps at the ready for the rolling power-piano funk of "Coming Down From Love", opening up the album with a track as good as anything Steely Dan or The Doobies ever crafted, with a vocal performance from the heavens. Pumping AOR wonder "Wrong Or Right" is up there with the slick, classy rhythms of prime Ned Doheny whilst the cool, skipping soul of guitar-drenched "To Know What You've Got" is a funky ballad par excellence, with elemental traces of "What A Fool Believes". No bad thing. Closing out Side A, the folk-funk of "You Promised Me" is a bright, soulful strut with a wonderful vocal coda that just builds. Sensational.

The delicate bounce and falsetto self-harmonising of "It's Over" offers a truly delightful introduction to Side B, and serves as a great precursor to what follows. Bobby's dynamite "Open Your Eyes" is likely the reason you're all here. As if he needed it, the eternal J Dilla further immortalised Caldwell in the hip-hop canon with his production of Common’s epochal “The Light,” which heavily samples the magical “Open Your Eyes.” On a post paying tribute to Bobby in March 2023, Questlove claimed that he "got word Brother Bobby loved it". Bobby's original has seen new life even more recently from the likes of Dwele and Kendrick Lamar and deservingly so, as its insistent drums and staccato piano created a modern-soul classic. You'd think that would be hard to follow, wouldn't you? Not so, when you're Bobby Caldwell. Indeed, the horn-drenched stepper "Mother Of Creation" is absolutely ace, and, whisper it, possibly the album's finest track, all funky piano and guitars with horn lines to die for. Exquisite ballad "I Don't Want To Lose Your Love" rounds out the album beautifully.

Bobby sadly passed away on 23rd March 2023, after a long struggle with mitochondrial damage and oxidative stress, due to an adverse effect from a fluoroquinolone antibiotic. The reissue of Cat In The Hat will be available on vinyl across the globe, ensuring that fans of his incomparable talent - and soul music enthusiasts worldwide - can radiate in the deep beauty of this seminal album. Meticulously remastered and cut by both Simon Francis and Cicely Balston respectively, it has been pressed to the highest possibly quality at Record Industry in Holland.

Known principally as a smooth titan of blue-eyed soul, Bobby Caldwell transcended genre tags with consummate ease; he was a musical icon of real class and versatility, cherished the world over. Tragically passing away in March 2023 at the too young age of 71, it still feels as if Bobby's true artistry is profoundly under-appreciated. His double platinum self-titled album from 1978 is a timeless masterpiece of sophisticated jazzy soul brilliance and is strictly canonical. Yes, it's perfect, yet it's been out of press on vinyl for years. We're deeply honoured to present the long-awaited reissue this summer.

Whilst Ned Doheny is known in Japan as "Mr California", native New Yorker Bobby Caldwell has always been "Mr AOR" to his Far-Eastern friends. His distinct charm is an irresistible blend of soul, jazz, and pop influences. He possessed phenomenal songwriting prowess, smooth vocal performances, was both a great soul guitarist and dextrous keyboard player and known for genius chord progressions. It all added up to a multi-layered brilliance entering the studio, and the singular sound he landed on was laced with soulful, sweeping strings and funky horns, touching lightly on disco, while allowing his supple voice to carry the stunning tracks he'd crafted.

String-swept opener "Special To Me" immediately sets the tone with its lush instrumentation, rich harmonies, and Caldwell's velvety-smooth vocals. Next up, a huge one. The infectious, mid-tempo bounce of "My Flame" showcases Caldwell's ability to effortlessly blend catchy pop hooks with soulful arrangements. It's an exquisite, emotive ballad that, at the same time, absolutely SLAPS. Game recognise game, and all that, so, accordingly, Notorious B.I.G. memorably ran with “My Flame” for his 1997 single “Sky’s The Limit”. The rolling, disco-very "Love Won't Wait" is a slick, uptempo track containing heartfelt lyrics intertwined with elegant strings and a horn section to die for. Aching - and achingly cool - single "Can't Say Goodbye" is a real fan favourite, and it's no surprise. It's a laconic, slow-mo jazz-funk stepper, with fantastic, very deliberate playing that closes out the A Side quite exceptionally. "Come To Me" slows proceedings down elegantly to open Side B before the universally agreed-upon masterpiece enters proceedings.

"What You Won't Do for Love," the standout hit that became a classic in its own right, perfectly captured Bobby's ability to infuse a contagious groove with introspective and relatable lyrics. With its instantly recognisable horn riff and Caldwell's soulful delivery, this timeless, chiller anthem continues to captivate audiences and define his musical legacy. He scored huge with the track, taking over the pop and R&B airways with this mellow soul stepper. It has remained a perennial favourite and has been heavily sampled, such is its unique allure; Aaliyah sang over snatches of it on "Age Ain’t Nothing But A Number" and you can hear Caldwell’s vocal sample used for the hook on Tupac’s posthumously released “Do For Love”.

Upon submitting the finished album to his label, they requested more material in hope of a big single. As Bobby remembered to Wax Poetics a few years ago: “Now at this point, I’m mentally exhausted...and bear in mind that I got so close to all the songs I’d written. I gave each song a profound amount of thought, and maybe too much. So, in haste, I went in and cut this song, "What You Won’t Do For Love". Wrote it in a day, cut the rhythm track, overdubbed the horns, I sang the song, and literally turned it in three days after. And lo and behold, the one song I gave the least thought to,” Bobby laughed, “ended up being a national anthem.”

The mysterious, magical "Kalimba Song" is a cosmic, kalimba-driven melodic-funk instrumental - short but oh, so sweet. It's followed by the supreme tear-jerker "Take Me Back To Then", Bobby's otherworldly voice deeply longing for a simpler time, "when life was mellow". I think we can all get behind this sentiment. The final cut is arguably its deepest, its low-key finest moment. For us, it is, anyway. The glorious, driving, effortlessly funky guitar-soul jam "Down For The Third Time" is a huge melancholic Be With favourite and has been played by discerning genre-hopping DJs with significant glee for years. Hypnotic, melodic, beautiful. Like the album it elegantly rounds out.

Bobby sadly passed away on 23rd March 2023, after a long struggle with mitochondrial damage and oxidative stress, due to an adverse effect from a fluoroquinolone antibiotic. The reissue of his wonderful eponymous album will be available on vinyl across the globe, ensuring that fans of his incomparable talent - and soul music enthusiasts worldwide - can radiate in the deep beauty of this seminal album. Meticulously remastered and cut by both Simon Francis and Cicely Balston respectively, it has been pressed to the highest possibly quality at Record Industry in Holland.

Tilman teaches us how to fly. His Atmospheric Mix of Marc Brauners „The Feeling“ is a 90s shaker and takes you straight to the stars - What a feeling, what a rocket!

The A-Side ends with a solid groover. Soela teams up with her partner in crime Module One. They deliver a classy interpretation of Max Taelers „Running“. You like it deep? - this one is for you!?
On the flip side waits for you Eddie C. He maximized the Funkyness of „Heads Up High“ without losing sight of its origins. King Eddie does royal things!

Last but not least Denyl Brooks interpretation of Shakas „Overminded“ is a peak time dance floor shaper. This belter goes in the ears, stays in the legs - for sure!

A Grey Area is the brand new album from GRAMMY nominated Canadian singer-songwriter JP Saxe, featuring singles I Don't Miss You, Everything Ends (feat. Lizzy McAlpine & Tiny Habits) and Moderación (Con Camilo) via Arista Records/Sony Music. A Grey Area follows up on JP's hit 2021 album, Dangerous Levels of Introspection.

Get ready to unleash your inner seventies funk and soul enthusiast with the reissued edition of Miami's self-titled album! This record, which sadly became their last before disbanding in the early 1980s following the collapse of T.K. Records, for which they were the in-house band, will take you on a captivating musical journey.

The energy radiating from this album is almost palpable, filling the air with an electrifying atmosphere. From start to finish, Miami's self-titled album bursts with infectious energy that will transport you back to the soulful sounds of the era.

As the needle hits the vinyl, you'll be captivated by the undeniable groove and irresistible beats. It's a sonic experience that will make you want to move your feet and let loose to the soulful rhythms. This reissued masterpiece brings new life to a record that has long deserved celebration and recognition.

So, let's give Miami's self-titled album the overdue acclaim it deserves. Dust off this musical gem, crank up the volume, and let the funky and soulful melodies guide you on a nostalgic journey. Get ready to groove like never before and experience the magic of Miami's
unforgettable sound in this special reissue

Get ready to unleash your inner seventies funk and soul enthusiast with the reissued edition of Miami's self-titled album! This record, which sadly became their last before disbanding in the early 1980s following the collapse of T.K. Records, for which they were the in-house band, will take you on a captivating musical journey.

The energy radiating from this album is almost palpable, filling the air with an electrifying atmosphere. From start to finish, Miami's self-titled album bursts with infectious energy that will transport you back to the soulful sounds of the era.

As the needle hits the vinyl, you'll be captivated by the undeniable groove and irresistible beats. It's a sonic experience that will make you want to move your feet and let loose to the soulful rhythms. This reissued masterpiece brings new life to a record that has long deserved celebration and recognition.

So, let's give Miami's self-titled album the overdue acclaim it deserves. Dust off this musical gem, crank up the volume, and let the funky and soulful melodies guide you on a nostalgic journey. Get ready to groove like never before and experience the magic of Miami's
unforgettable sound in this special reissue

When South Korean balearic prodigy Mogwaa came to MM Discos with an idea for his rst full-length album, we were a bit surprised.
He said, ‘I want to do an album of bossa tracks with synths, a drum machine and my guitar’. We obviously had to take him up
on that deal.

Fresh from the recent Bandcamp feature on his own brand of danceoor-ready modern boogie, Seungyoung Lee (aka Mogwaa)
arrives back on MM Discos with his - and our - rst full length exercise. With six tracks per side of 80s inuenced synth and bossa
badness, ‘Hazy Dreams’ is an exercise in simplicity, and more proof of the ever-expanding musical horizons of one of the scene’s
most virtuosic instrumentalists.

Pairing a sensitivity to the construction of ambient, funk, bossa and cassette-tape 80s experiments with his own cinematic subtlety,
‘Hazy Dreams’ takes a gentle, minimalistic approach, crafting its own escapist world that oers a welcome diversion from the
steady ow of busy balearica and downtempo.

Opening track ‘Full Bloom’ paints a picture of midsummer at dawn, some clear-skied island where lush vegetation climbs through
hibiscus gardens. ‘Nacimiento’ is an AOR/bossa crossover evoking West Coast yachting in full afternoon, and A3, ‘Soothing’, adds
a touch of wistfulness with reverb-doused guitars over meandering bass motifs.
The easy kick-and-snare combo of ‘Levitation’ sets the scene for a drum machine love aair, unrequited love on the rocks, and
‘Flashback’ plays with short delay trails and o-kilter melodic sequences, where you feel the soft presence of the nebula approaching
at the break of day. Closing out the A-side, ‘Dispatching’ reaches out even further into the imagined cosmos of Mogwaa’s
picture-perfect world, portraying an ambience at dusk, observing, calmy, as pued-up pink clouds melt into the evening canvas.
On the other side, Mogwaa explores quiet corners with ‘Illusions’, a slow meditation on the nature of simple presence, and ‘Echoes
of You’, a stream of subdued brush strokes that crescendo into higher frequencies on gently undulating pads. B3, ‘Moondance’,
ups the tempo and recalls classic Mogwaa with its sideways shue and starry melodic refrain, pivoting through folk-dance
moods and surprising chord changes.
Nearing the end of the album, ‘Footprints’ wades through tall grass in search of altered states, innite and hypnotic, changing
course only to crouch down and study the landscape, and B5, ‘It always comes and goes’, pictures the to-and-fro of jetstreams and
comets in the blinding midday sky. Finally we have the closing credits of ‘Swingin’ that looks o into the horizon, jaunty and exalted,
a guitar-led tribute to an easy-going world, and ultimately mindful of the power of dreams.
We’re humbled to have such a special record for our rst full-length release on the label.

Everything becomes fluid when you can pass through time and space like a ghost, a story, a melody. Boy Golden manifests all three on For Jimmy. When listening to his music, it feels easy to dissolve into the ether. Everything flows. From classic country to psych-folk, Alternative to roadhouse pop to Appalaichan bluegrass, Boy Golden’s music is easy, breezy, warm and gritty. And don’t it just feel good to listen to it. Since releasing his debut album, Church of Better Daze, in 2021, he’s played every summer festival on your list, produced a number of albums with friends, released a dozen videos, curated and directed an art show and music video for “KD & Lunchmeat”, the Seth-Rogenesque hit single that charted to #1 on Alternative Radio, and toured with The Sheepdogs on their most recent North American tour. Introspective and vulnerable, traditional and queer, hard-headed and sensual, Boy Golden’s everyman-aesthetic can appeal to all of us. This ability lies in his songwriting: the songs your friends tell you about, the stories you hear from your neighbours, your community. He’s comfortable both in the spotlight and just outside it, sharing the moments with other artists, lifting others up along with him. He’s a genuine student of Townes Van Zandt and Willie Nelson as much as Dwight Yoakam and Stevie Ray Vaughan . Plus his C.O.B.D philosophy, “You can blaze and still get paid” might help us all to blur borders and old definitions of genres we thought we knew, like Steve Lacy or Justin Vernon do for Pop music. Boy Golden is able to maintain his own unique blend of Boy Golden using whatever frame of mind he’s in to fit us into this time. We’re here right now.

Pressed On Clear Vinyl! To celebrate the 25th Anniversary of UGK's first album, Get On Down goes the extra mile, presenting it for the first time ever on vinyl. AND 2LP clear vinyl at that, giving the strutting, funky grooves the chance to really stretch out on your system. Back in 1992, Southern hip-hop was still proving to the world that it could sustain a fan base that was chiefly raised on rap from New York and LA. The Geto Boys and 2 Live Crew had made strong cases by the earliest '90s, and Pimp C and Bun B were ready to make their own. Most of the trunk-bumping bass comes from drum programs and basic sampling on these tunes - in later years they would build their sound into something even fuller and deeper. Self-produced with additional work from Houston locals Bernie Bismark and Shetoro Henderson, the tracks here are minimal, slow and menacing, which matched their lyrical approach quite nicely. You can hear the beginnings of the group's true greatness in these early lyrical workouts - several taken from the regional cassette-only EP The Southern Way that got them signed to Jive - with tales of street hustles, relationships and self-reliance in a world stacked against them. They may have been done early-on, but that doesn't mean they aren't crucial to UGK's legacy - cases in point being the three singles: Something Good', a charismatic update to Bill Withers' Use Me Up', and Pocket Full Of Stones' (the latter featured on the Menace II Society soundtrack). Beyond the singles, deeper cuts like I'm So Bad,' Feels Like I'm The One Who's Doin' Dope' and Cramping My Style' made it clear to the world that this crew had the attitude and charisma to make even bigger waves in the years to come.

Sara Dobbs and Jenny Shore used to work summer stock theater in St. Louis, Missouri. They'd do the hand jive with TV stars past and future; they'd get coldly corrected by the ancient, legendary choreographer Gemze de Lappe. Sara went on to Broadway, including a run as Anybodys in West Side Story. Jenny went on to choreograph in the independent dance scene of early 2000s Chicago. Julie Shore is Jenny's sister. She's always made music_playing Chopin, writing songs, making bands with her friends. She's had the archetypal Millennial journey of entering adulthood in the '08 financial crisis and figuring out what stupid series of jobs you have to take to pay rent while keeping an artistic life alive. Miles Francis grew up in New York City with Backstreet Boys posters covering their walls. An extraordinary drummer since youth, Miles thrives in collaboration_ whether producing artists in their West Village studio, performing with artists like Angelique Kidjo, or powering protests with a big marching drum. These four_Miles, Julie, Jenny, and Sara_are Sister Squares. What made them a musical unit was working with Grammy winner and Oscar nominee Will Butler. They've all just finished a new record together: Will Butler + Sister Squares. "After Generations, I considered making a weird solo record. Me alone in the basement, etc., etc. Mostly I realized that what I wanted was the opposite," says Will. He increasingly turned to the band for feedback on lyrics and song structures. He asked Miles if they'd produce the record. The band played a run of shows in August 2022, airing out studio ideas in live rooms. After coming home, the band regrouped at Figure 8 Studios in Brooklyn. "I had quit my band Arcade Fire very recently, after 20 years_maybe the most complex decision of my life. I had spent the preceding two years at home with my three children. I was 39 years old. I was waking up every morning and reading Emily Dickinson, until I had read every Emily Dickinson poem. I was listening to Morrissey, to Shostakovich, to the Spotify top 50. I had unformed questions with inchoate answers," says Will. "But, honestly, I was feeling great about the record." The album projects widescreen emotional landscapes. Lead-off single "Long Grass" is like a Harry Styles song with 20 more years of life behind it. Standout track "Saturday Night" has a beat, according to Miles, "with that robot-alien-dancing-at-a-haunted- dive-bar feeling that we were going for." The back half of the album is a danceable, weird choral record with harmonies both beautiful and dissonant. Closing song "The Window" is the comedown after the party_Julie playing a Chopin Nocturne on a three-years-out-of-tune piano, slowed to half-speed on tape with Will singing over it in a voice exactly as tired as he was. It's a record with a warm, humane soul.

Sara Dobbs and Jenny Shore used to work summer stock theater in St. Louis, Missouri. They'd do the hand jive with TV stars past and future; they'd get coldly corrected by the ancient, legendary choreographer Gemze de Lappe. Sara went on to Broadway, including a run as Anybodys in West Side Story. Jenny went on to choreograph in the independent dance scene of early 2000s Chicago. Julie Shore is Jenny's sister. She's always made music_playing Chopin, writing songs, making bands with her friends. She's had the archetypal Millennial journey of entering adulthood in the '08 financial crisis and figuring out what stupid series of jobs you have to take to pay rent while keeping an artistic life alive. Miles Francis grew up in New York City with Backstreet Boys posters covering their walls. An extraordinary drummer since youth, Miles thrives in collaboration_ whether producing artists in their West Village studio, performing with artists like Angelique Kidjo, or powering protests with a big marching drum. These four_Miles, Julie, Jenny, and Sara_are Sister Squares. What made them a musical unit was working with Grammy winner and Oscar nominee Will Butler. They've all just finished a new record together: Will Butler + Sister Squares. "After Generations, I considered making a weird solo record. Me alone in the basement, etc., etc. Mostly I realized that what I wanted was the opposite," says Will. He increasingly turned to the band for feedback on lyrics and song structures. He asked Miles if they'd produce the record. The band played a run of shows in August 2022, airing out studio ideas in live rooms. After coming home, the band regrouped at Figure 8 Studios in Brooklyn. "I had quit my band Arcade Fire very recently, after 20 years_maybe the most complex decision of my life. I had spent the preceding two years at home with my three children. I was 39 years old. I was waking up every morning and reading Emily Dickinson, until I had read every Emily Dickinson poem. I was listening to Morrissey, to Shostakovich, to the Spotify top 50. I had unformed questions with inchoate answers," says Will. "But, honestly, I was feeling great about the record." The album projects widescreen emotional landscapes. Lead-off single "Long Grass" is like a Harry Styles song with 20 more years of life behind it. Standout track "Saturday Night" has a beat, according to Miles, "with that robot-alien-dancing-at-a-haunted- dive-bar feeling that we were going for." The back half of the album is a danceable, weird choral record with harmonies both beautiful and dissonant. Closing song "The Window" is the comedown after the party_Julie playing a Chopin Nocturne on a three-years-out-of-tune piano, slowed to half-speed on tape with Will singing over it in a voice exactly as tired as he was. It's a record with a warm, humane soul.