In this day and age of utter overwhelmment (not a word) at every turn, we sometimes need to hear things twice to have them break through to our collective, social-media-soaked consciousness.

So, to reiterate what we shared last month, our mixtape series that we’ve been sharing on a monthly basis since 2015 has now grown into a partnership with our friends at Whalebone. Like them, we don’t really dig the term ‘lifestyle brand’, but, in their words—”Whalebone is an authentic, positive lifestyle brand that feels like a friend. One who was born and raised on the East End and who seeks out good things and the good in things everywhere.”

The yearly, massive SXSW Music Festival is now in the rear view, but our SXSW mix is evergreen and should live, roughly, for as long as the internet does—check it out over Whalebone and look for next month’s soon; we’ve got something special planned.

And again, if you’re worried about missing upcoming mixes, especially ones not posted here in the future, be sure to sign up for Whalebone’s newsletter. You can also follow us directly on our Mixcloud page and on Instagram, where we’ll be sure keep announcing these.

We’ve been a bit quiet here of late, especially on the new music front. But we assure you, it’s with good reason.

Since January of 2015, we’ve been sharing our monthly mixes of new music. But going into this new year, we felt the need to evolve the series into something new for fear of it all getting a bit tired.

So, after four years of sifting through thousands of new artists + songs and sharing with you over 700 tracks (no really, we did the math), we’re undergoing a bit of a brand refresh for these monthly mixtapes, partnering with our friends over at Whalebone Media, where these mixes will live from now on.

We’re also taking a new approach to both the artwork and the actual formats of the mixes. We’ll still be keeping to 15 songs most times and avoiding too much repetition, but we’re hitting the restart button à la dying right away in Super Mario Brothers, easing up on our usual one-year-rest rule for repeating artists. We’re also making the coverage of the mixes a little more conversational and exploratory with Whalebone and start doing some themed mixes, some of which will likely feature older favorite + hard-to-find tracks rather than just new music.

But what are you doing reading this still? Head over to Whalebone now to hear the new mix and read our conversation with them on some of our favorite tracks and the inspiration behind everything.

We’ll be following up sooner than later there with a new March mix that features our favorite picks for the upcoming SXSW Music Festival.

And if you’re worried about missing upcoming mix announcements, be sure to sign up for Whalebone’s newsletter. You can also follow us directly on our Mixcloud page and on Instagram, where we’ll be sure keep announcing these.

Thanks for the continued listening as we grow this series, friends.

This month marks our penultimate mixtape of the year and our final regular fifteen-song mix, with the next being our ten-song mix highlighting our ten favorite albums of the year.

Traditionally, this time of year can be a little quiet on the new music front, with artists tending to want to wait until the new year for big releases. And indeed, we’re excited about more than a few full-lengths that have already been announced for January + February of 2019. But, be it the abandonment of album mentality by some newer artists or just the equivalent of family style dining in the music world, with people wanting to grab attention as soon and as often as they can, this month actually seems awash with excellent new music.

Starting with Melbourne electronic artist Alice Ivy and her sophisticated dance track “Chasing Stars” featuring Bertie Blackman. Then we have newcomer ford. (AKA Luc Bradford) out of Provo, Utah, who’s new album, (The) Evening comes to us via ODESZA‘s label Foreign Family Collective and is highly recommended for any fans of intricate, layered electronic music. The track we feature has Sarah Kinsley on vocals, but another couple from the album feature the subsequent artist on our mix, Durango, Colorado-based signer Sophie Meyers (who, awesomely enough, includes a PayPal link on her Soundcloud page—no beating around the bush with this one).

Then we’ve got a fun, addictive track from Brooklyn’s Anna Wise, featuring Jon Bap; the return of London’s biggest Missy Elliot fan, Georgia; edgy, rhythmic, almost industrial-sounding pop from Montreal’s Annie Sama; and then three in a row from fellow Angelenos—a darkly beautiful debut from Phoenix-born, LA-based Kailee Morgue; a new one from another Angeleno, Lawrence Rothman, who now has a new EP out; and a new single from one of our favorite singer-songwriters in town, Ella Vos.

We’ve also got some subtly beautiful work from London’s (Will) Westerman, who plays the Moroccan tomorrow night; one of our favorites from (Thomas) VILDE‘s most recent album, out of Stockholm/Melbourne; catchy electronic music from another all-caps-er from Melbourne, LANKS (AKA Will Cuming); a great song from Andy Shauf’s new collaborative effort with his childhood friends from Saskatchewan, Foxwarren; a sleepily beautiful song from singer-songwriter-actress Alison Sudol; and we end out with a sweeping, dramatic song from Norwegian singer-songwriter and producer, AURORA (Aksnes).


At this point, it feels like we’ve been talking about mid-term elections since…well, basically November 9th, 2016 (for those of us who regained the ability to speak so soon after the previous evening’s general insanity). So in many ways it seems unreal that the big day is tomorrow. Unreal and scary—for many of us, it’ll likely be an awesome or awful day, if we’re erring on the side of hyperbolic dramatics (we usually do).

For those of us in California—the land of voter initiatives, ballot measures, and bond-driven, power-to-the-people-be-them-informed-or-not change—the 37 offices and 16 measures (the actual count in our district) we’re voting on can be totally overwhelming, especially when we’re choosing between two pretty progressive Democrats for US Senate and said measures involve complicated, longterm change with results that are difficult to predict at best.

Take Proposition 10, the statewide measure that attempts to address rent control—for one, the rent’s too damn high, as the various billboards and ads tell us. Who besides landlords would argue with that? But experts agree that allowing localities to provide and/or strengthen rent control doesn’t directly address the housing crisis which can only really be done by creating much more new affordable housing. And people who study rent control closely over time largely agree that rent control can actually increase gentrification as landlords tend to convert formerly rent controlled units to high income for-sale homes when the time eventually does come.

Or how about Proposition 12, widely billed and accepted as the measure to  prevent cruelty to farmed animals. You’d think, as longtime ethical vegans, we’d be all for that, but it’s actually much more complicated and convoluted than it seems. The measure is basically a follow-up to 2008’s Prop. 2, which was also billed as cruelty prevention measure and promised the banning of chicken cages in California by 2015 (which didn’t happen). But it was mired by lack of specific language (it vaguely requires caged egg-laying chickens be given enough room to stretch their wings) and a decent amount of controversy. In ways, this is an attempt to rectify the errors of that past work, but Prop. 12 is equally or maybe even more flawed according to some. It states that we’ll tentatively be cage-free by 2022, but the cage-free environments might be even worse for the lives of chickens (picture a dark warehouse, not a bucolic pasture—this is still factory farming, after all); the proposed protections for pigs and calves seem thin, at best; and some people in the animal rights community just feel that the whole thing is too permissive of a cruel, animal-centric diet.

So, shrug emoji, right?

Even though, often, the more we look into a particular measure or candidate, the more discouraged we get, we remain forever very, very, very pro-vote. Our vote is our voice and when we stay silent, we make the voices of those who don’t all the more loud and all the better heard, diluting our say in how we run this city, county, state, country, and how all that influences the rest of the world. And even with these very flawed measures, they can do some good, even when they’re far from perfect, especially when you look at California’s long history of legal influence on the rest of the country (we’re a house split on Prop. 12, to be honest, but trending towards the ‘it will hopefully do some good’ camp).

A couple of years back, then 1st Vice Chair of the Democratic Party of the San Fernando Valley and a self-described a progressive activist and proposition nerd, Damian Carroll, gave us a little guidance as then-still-new Californians in the form of propositional haikus. He’s doing the same again this year, which you can check out below. These are primarily for fun—some of these are in fact no-brainers for a lot of us but, again, most are pretty complicated and nuanced.

So we encourage everyone to check out a few of our favorite voters guides too, especially with the all-important local races, judges, sheriffs, and other elected officials that really set the day-to-day rules and directly affect so many citizens. And totally do the work and fill out your sample ballot beforehand and look into every single measure and candidate. Whether we think we should be deciding all these things or not as citizens, we are, and people fought and died for these votes (see above note about tendencies toward the dramatic, but true nonetheless). Let’s not just throw our hands up and say the system is broken, why bother; let’s use the tools we have now and work to improve them later.

Here’s a list of our favorite voter guides, some of which rather objectively detail candidates’ views and platforms, some of which straight-up give their endorsements:

League of Women Voters’ Education Fund + Women’s March LA
Planned Parenthood Advocacy Project Los Angeles County
LA Forward (props. + measures only)
ACLU SoCal (props + measures only, partial)
Democratic Socialists of America—LA
Curbed LA
Paige Elkington/Westwood Westwood (who wins for best design; this one’s also great for the nonpartisan, yes/no offices)
Tracy Jeanne Rosenthal’s Two Evils Guide (also great for the nonpartisan offices, with some nice, entertaining explanation on many and an award for Most Disingenuous Measure)

As per ushe (we’re assuming that’s how you spell an abbreviation of ‘usual’ but we could see it going a number of ways—uzsh? Yoosh? Something with an umlaut?)—anyway, as per üzsch, this month’s mixtape is pretty evenly split between new-to-us artists we’re excited to share for the first time and favorites who are back with notable new music.

In the former category, we’re starting with someone who’s new to us, but maybe not other listeners—Shungudzo, AKA Alexandra Govere, the Zimbabwe-born philanthropist, singer, songwriter, record producer, gymnast (1999 All-Africa Games), journalist, and reality television (Real World: San Diego, 2011), who, in addition to co-founding a non-profit that supports orphans living with AIDS, wrote a pretty excellent single, “Paper”, which both starts our mix out and can be heard in her pretty stellar video for the track below (directed by Carlo Corbellini). She’s pretty much the female version of that most interesting man in the world guy. Like the lion’s share of creatives in the US now, she currently lives in Los Angeles; that isn’t bragging on our parts, just cold science and astute observation, man.

Other, likely less accomplished new artists we’re featuring this mix include Sydney electronic artists Clypso; Liza Anne out of Georgia/Nashville, who gives us a catchy, rocking track with a sentiment with which I think most of us can identify; South Australia’s Heaps Good Friends, with a song about hugging; Leeds electronic pop duo Litany and then two more groups from across the pond, London electronic duo APRE and the sweeping, dramatic four piece Dahlia Sleeps, also out of London. Then closing things out, we’ve got a beautifully stripped down song by Graham Van Pelt (FKA Miracle Fortress) out of Toronto.

Returning favorites include Norwegian Angeleno Mr Little Jeans, who we interviewed a few years back; Art School Girlfriend (AKA Polly Mackey) out of the seaside town of Margate in southeast England; Melbourne duo Oh Pep! with some peppy pop; NYC via Columbia band Salt Cathedral; the always amazing Lorely Rodriguez, known more widely by the moniker Empress Of, who just moved from NYC to her native Los Angeles (told you); Stockholm trio Peter Bjorn and John, who are back with their eighth studio full-length; and badass English rapper Simbiatu “Simbi” Abisola Abiola Ajikawo, better known by her stage name Little Simz (“I’m Jay-Z on a bad day”).

Enjoy, and happy fall, y’all (currently mid-80s in LA, by the way).

Like we mentioned at the open of our last mixtape, one of our favorite things about putting those together is having to push past what we already know and are exposed to in terms of music and seeking out the very new, things we’d almost certainly miss or never hear otherwise. Doing so results in some beautiful discoveries more often than not. With this most recent foray into the unknown, our big take-away was New Orleans band, People Museum, an experimental pop duo comprising producer/trombonist Jeremy Phipps + composer/singer Claire Givens. As we’d mentioned last month, we’d hoped to interview the band to find out more about them and were lucky enough to do so recently, talking about the band origins, the music scene in New Orleans, and more.

You can read the full interview below, stream their debut full-length here or via Spotify, and purchase the album via iTunes or your favorite discerning local record store. Photos by Daniel Grey.

raven + crow: Alright, first thing’s first—how’d you two meet and how did the band develop? Were you both in bands previously and already on the hunt for a new project or did this just naturally develop from an existing mutual friendship?

Claire Givens: We met at a spot in the French Quarter in New Orleans called Marigny Brasserie after a mutual friend suggested we would be good collaborators. Jeremy had just gotten back from living in Los Angeles for a few months pursuing a solo project and I had just come off of a music project that broke up pretty dramatically after 3 or 4 shows. I was definitely itching for a new musical partner. We went to our buddy’s house in the Treme the same day and started writing songs. We finished two complete songs and realized it was a perfect match. The music basically developed our friendship.

Are you both originally from New Orleans?

Claire: I am from North Louisiana, Monroe, which is basically the polar opposite of New Orleans culturally. Jeremy is from Uptown in New Orleans.

What’s the music scene like in and around New Orleans? I know a band from Baton Rouge (thought they’re here now—Moon Honey, do y’all know them? Nicest people in the world), but I can’t off the top of my head think of many bands from NO that don’t live very precisely in the jazz or swamp rock worlds.

Claire: I LOVE Moon Honey! They seem to be killing it in LA. The New Orleans music scene is really difficult to describe. Parts of it are the exactly the same way they’ve been for 50 years (Frenchmen street jazz/funk scene), but if you go downtown or to the Bywater, some pretty radical things are going on. We love what the Pink Room Project and people connected with them are doing. It’s a mix of house, hip-hop, and punk that is what New Orleans is to us in this moment. Nondi is also a very interesting performer who mixes meditation with R&B vocals. It’s a shame that a lot of great music and musicians here don’t get the credit they should because it isn’t what people expect or are trying to take away from New Orleans. They want a Disneyland experience.

Right, no, I can’t imagine a ton of people coming to New Orleans from the outside are looking for anything beyond the traditional or even cliché—New Orleans playing New Orleans. But I’d read that you all view the band as a kind of means to explore the sounds of future New Orleans—can you explain that a bit? What do you see as the future of New Orleans sound and music and even the arts there?

Jeremy Phipps: When I said future New Orleans I meant we’re taking elements involved in traditional New Orleans music like my primary instrument, trombone, but filtering it through effects.

It wasn’t a concept I created in the beginning. It was a practical way of trying to fit inside the soundscape I created with synthesizers and other futuristic instruments.

I think the future of New Orleans art is building a bridge between tradition and progression. It’s inspiring some amazing art.

If your music is any indication, then definitely. How do you two break up song-writing tasks? Or is it different song to song? I know you’re primarily the singer, Claire, and, Jeremy, you play trombone, but there’s a lot more going on there song-to-song.

Jeremy: I usually make a full instrumental track and send it to Claire. She spends some time with it, writes the lyrics and melody, then when she tells me she’s ready I’d go to her house and record a demo. That was the process for the 9 songs on the album and all the other songs that didn’t make IDYTC.

There’s not much debate between us, she gave me the freedom to express myself and I gave her the freedom to express herself. We trust each other a lot.

That’s great. And I feel like that freedom plays out in the creativity shown in the songs too.

I don’t generally like to play the comparison game, but I did find it interesting to discover you toured with Rubblebucket, Jeremy—that’s honestly one of the only sonic parallels that I can think of for your particular sound. I feel like there is this shared approach to the song structure—layered, hyper-melodic, vocal-forward, beat-driven and even a little dance-y at times. All aspects of sound that draws me to both of your bands. Do you feel like that very general musical umbrella is some of what you’re exploring in terms of the future of pop music?

Jeremy: I’m a huge fan of Rubblebucket, so when I got the opportunity to tour with them I soaked in as much as I could. Alex Toth, their leader/trumpet player and Adam Dotson, their old trombonist, are big influences my horn playing. I don’t listen to many horn players so they are definitely the exception.

The album cover immediately brings to mind modern dance and movement to me—does anything like that enter your live shows ever?

Jeremy: I’m constantly dancing on stage. Our weird drum beats inspires the atypical movements.

And is it just you two on-stage for those or do you build out the band for live performances?

Jeremy: It’s a 3 piece live band at the moment. We have an amazing drummer and producer Aaron Boudreaux playing with us.

Any plans to tour out west? We’d love to see y’all live.

Jeremy: I lived in LA, Koreatown for awhile, so I’m dying to play a show in LA. We’re definitely wanting to go west early next year.

Oh, excellent. Finally, we love talking names—can you explain yours?

Jeremy: This is a funny story actually. When I lived in LA, way before People Museum started, a friend of mine brought me to stand outside the arena the VMAs was held in. Along with a couple thousand people you could watch the stars walk back and forth to their dressing rooms through a huge glass.

It’s a surreal and a bit invasive experience. Most of the stars would just ignore us but every now and then one would wave and everyone would cheer.

I felt pretty jaded from it until I saw Willow Smith wave at us! Hah! I love Willow Smith. After that I could see the appeal in it.

Anyway, I said to myself “this feels like a People Museum.” I wrote that name down and held on to it until I started this project with Claire a year later.

Yeah, I’ve never done that. Maybe I should. That place is right down the street, I think. What about the album title, I Dreamt You in Technicolor?

Claire : This came from one of our first songs we ever wrote together that we never released called “Technicolor Dream”. We decided to not include that song on the album, but we felt like “I Dreamt You in Technicolor” perfectly summed up this soundscape we made. It’s all this crazy dream, full of our memories and color and life.

Nice. Well thank you both for taking the time to talk and we’ll keep an eye out for a live show in 2019.

Every time we do one of these, we discover new future-favorite musicians. More than anything else, it’s the thing that keeps us doing these mixtapes year after year, pushing us past complacency and into creative experiences we likely wouldn’t otherwise have, both in terms of recorded music and live performances of artists we first discover and then share on these pages.

Last month, the big impact new artists for us were Your Smith and Sorcha Richardson; this month, New Orleans duo People Museum is our musical obsession, and we’re hoping to bring you an interview with them in the coming weeks. In the meantime, you an enjoy one of our favorite tracks form their new album on our mixtape and, if you like what you hear, give their entire debut a much-deserved full listen (not to be confused with these guys’ new album, which is also likely awesome).

Also in the exciting new-to-us realm, Tokyo/Berkley’s Curling, who self-describes as “Crosby, Stills, & Nash meets Cap’n Jazz” which is fucking amazing, like their track “Still Green”; Belgium’s Pale Grey, who plays some pretty catchy shit; Brooklyn trio Big Bliss, whose debut full-length both reaches back into new wave’s best and forward into new new wave’s best; new experimental cold wave (if you like waves and over-categorization of music) from Athens, Georgia’s Mothers; and English electronic duo Maribou State.

In the welcome return category, South African artist Petit Noir (AKA Yannick Ilunga) is back with a wonderful new EP; Gabrielle Smith (who we interviewed back in 2015) is back with the newly minted Gabby’s World; SoCal’s own Trevor and Tim from Tall Tales and the Silver Lining are back with an album as Parting Lines (Trevor’s another past interview subject); friends of the studio Moon Honey have a just-released album full of crazy-insane-prog-psych-rock-your-face-off-ness (video from the single we feature below); Bristol’s Elder Island are back with a very much smoothed-out, slick sound; Los Angeles’s own Viaa gives us some trademark hook-filled pop; more LA love—Kito teams up with New Zealand’s Broods for a lovely nuanced single; studio favorite Amber Bain out of Buckinghamshire, AKA The Japanese House, has a just-released single that’s kicking the mix off; and conversely, Toronto’s Lowell closes things out for us with a beautifully epic, danceable, anthemic track that we should all bounce around to and sing at the top of our lungs at least a few times this fall.

Enjoy, friends. And remember—love wins.

This is how it goes with us. As we near the end of the year, the lofty web-posting goals of monthly mixtapes coming out at the beginning of months slowly slips to the middle, then to the end as we get busier and busier with all the other, non-web-related things in life (which, happily, is many and much), to the point where we’re, for example, releasing the ‘August mixtape’ on the actual last day of August. But what can you do? Priorities are priorities and IRL > URL. Also, from what I’m told, no one really reads blogs anymore? Even blogs you call ‘web journals’ to sound more sophisticated?

So, mreh.

But music! Always music! ‘This month’s’ mixtape starts off with the new Robyn, because how could it not. And, maybe as a result, we have a bit of a Robyn feel weaving it’s way through a number of the subsequent tracks—the exciting new single from Christchurch’s Yumi Zouma; a new danceable track from London’s Millie Turner; and a somewhat more subdued song from an exciting, new-to-us artist out of Dublin, Sorcha Richardson.

Also on the new awesome artists front, we’ve got Melbourne’s Jordan Dennis, who gives us a nice, laid back late summer hit with “Crumbs”; Utah duo, Sego, who walks the line between drone core and catchy pop; Toronto’s Verzache, who’s cooking up some nice foot-tapping bedroom music up north; Brooklyn-Minneapolis duo Tiny Deaths, who we interviewed earlier this month; Richmond’s own Lucy Dacus, who Claire from Tiny Deaths turned us on to in said interview (typing this from Richmond, VA, for what it’s worth); a beautiful single from trio, DYAN, that seems to call just as many places home—Winnipeg x Los Angeles x Cincinnati; and a catchy, fun single from Your Smith (née Caroline Smith) out of Minneapolis.

Then back to some studio regulars and also from Minneapolis, trio Bad Bad Hats is back with what’s looking to be one of our favorite albums of the year so far; moving only slightly eastward, St. Paul’s Hippo Campus just released a promising, woozy new single from a forthcoming full-length; we’ve got a new single from Portland, Oregon’s Liyv, who we featured last year; and we have one of our favorites from Mitski‘s new one.

Enjoy the music and enjoy these last days of summer, friends.

‘Eclectic’ is a word that’s thrown around when it comes to music, or, more accurately, collections of music. But this month’s mixtape strikes us as especially eclectic in earnest. Maybe it’s this unrelenting heat that’s effectively vaporized our brains and pushed our aesthetics to the outer boundaries or maybe independent music itself is changing, getting more diverse. Regardless, we have a pleasingly erratic, explosive-feeling mix for you this month, bookended by new music from midwestern brethren—Milwaukee, Wisconsin’s Collections of Colonies of Bees + Minneapolis, Minnesota’s Poliça in collaboration with Berlin-based orchestral collective s t a r g a z e.

The remainder of the mix is largely new-to-us artists (which may owe something to the aforementioned diversity) with some beautifully hyper-melodic pop from Portland, Oregon’s Wild Ones; woozy, glitched-out electronics from multi-instrumentalist + multi-disciplinary artist Schaus (also out of PDX); catchy, earworm-y pop from South Australia’s MANE (née Paige Court); subtly swooning experimental dancehall from Canadian musician Lou Canon; Swedish indie pop from Malmö newcomers Hater; another earworm from KC’s Hembree; Boston teen sensation (just wrote those words) Clairo Cottrill with Reading producer SG Lewis; and Kalbells, the solo project of Rubblebucket singer and saxophonist Kalmia Traver.

Finally, we’ve got some welcome returns from Los Angeles’ own (by way of Chicago) Sudan Archives; Oxford electronic artist Chad Valley (née Hugo Manuel, frontman of Jonquil); the return of Lund, Sweden’s The Radio Dept.; and Melbourne’s golden boys, Rolling Blackouts Coastal Fever. And, while it’s not a return, we’re featuring a track from Lindsey Jordan’s Snail Mail, out of Baltimore, who’s new to the scene but sounds anything but, with addictive songs and a voice that’s beyond her 19 years—this is one of our favorite tracks amounts many on the band’s debut full-length, Lush.

Enjoy and stay cool.

This month’s mixtape brings you—as usual—a ton of new music that we’ve been enjoying in the studio, by artists new + old.

Welcome returning longtime studio favorites include the Brooklyn band with a funny name, Rubblebucket, who kick things off with the catchy, true-to-form lead single from their coming fifth full-length, Sun Machine, out in August; Swede, Victoria Bergsman, better known as Taken by Trees (and maybe even better known from Peter Bjorn and John’s 2006 hit “Young Folks”), who’s taken a welcome electronic-leaning turn with her new album, Yellow to Blue; French singer, songwriter, and superb dancer Christine and the Queens (AKA Héloïse Letissier), who seems to be shifting to moniker and public persona a bit to the simplified ‘Chris’ (and who has giant billboards in Times Square and down the street from us in Hollywood—bully to you, Chris!); SF electronic duo Cathedrals, who are back with a sultry new single, “Hits Me Like a Landslide”; Los Angeles’ own king of glitch, Mark Redito; and a band we’ve followed for a decade, Minneapolis-based (now) duo Now Now (né Now Now Every Children), who are back with their first new album in six years.

New (to us) artists include Richmond, Virginia’s very own Natalie Prass, who gives us an infectious, fun track from her just-released album The Future and the Past (check out the video below); Nashville-based Sophie Allison and her band/alter ego Soccer Mommy; two cousins from London who comprise Otzeki, a jagged, electronic pop duo; Singaporean singer-songwriter Linying; and a newly formed electronic LA trio we’re excited about, Overjoy.

Then we’ve got some other returning artists whose work we’ve featured in the past, including English electronic musician Sam Breathwick, who writes and performs under the collegiate name Vasser; Swedish songstress Matilda Mård, AKA  Many Voices Speak; NYC-based pop Aussie, Kate Kay Es; and London duo and crafters of addictive dance music, HONNE.

Enjoy! And, as always, if you want to hear past mixes, scroll back through these pages for 3+ years of music or visit and follow us via MixCloud.

Art—fern + adorable quilt of Japanese textiles made for us by good friends.