He’s My Brother She’s My Sister seems to invite a broad range of colorful words to describe their music and performances: “flamboyant folk,” “psych- acoustic,” “estranged and glamorous” and “vaudeville-y,” with “alleyway rhythms,” and “earthy swagger.” No doubt this is due to their mélange of musical styles, both modern and antique; their eccentric attire and sense of expression that is both sincere and theatrical; and, to their unique instrumentation, which includes a rhythm section bolstered by a tap dancer.

Brother and sister Robert Kolar and Rachel Kolar split vocal duties, with Robert on guitar and kick drum and Rachel on tambourine. Their voices range from boisterous to introspective, from breezy to emotive. Lauren Brown adds full- body percussion with her fluid tap-dancing. Oliver Newell adds stand up bass with joyous flair. Aaron Robinson plays lead guitar on a lap slide, veering from nuanced psychedelica to American roots riffs. And Satya Bhabha's adds unconventional cello playing which is at times sweeping, and at other times bellows like a husky fiddle.

The band’s infectious rhythms and high energy make the sounds come alive and cause even uninitiated crowds to erupt in dance. Their songs ring like pop classics in a modern framework. It is a recipe that has quickly gained the band a devoted following in their hometown of Echo Park and the surrounding LA area, and that following has spread to every town the band visits.

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We've turned a new page -- and one good turn deserves another. To celebrate the launch of our new HTML5 site, we're sharing the love with you, our loyal Beatport community. Every day from now until the end of the month, we're giving away a different prize pack as part of our New Beatport Launch Giveaway. It's easy to enter: every day, we'll post a new "task" to accomplish. Just complete it, and you'll automatically be entered to win that day's prize. Today you could win an Avid Complete Producer Bundle: including Pro Tools® + Mbox® complete recording system, M-Audio® Axiom® Pro 25 MIDI controller, and M-Audio BX5a Deluxe studio monitors. For your chance to win, just answer a trivia question correctly. Entries are open now until midnight MT. Enter Here

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Close your eyes and imagine for a moment that you’re at a festival. What do you see around you? Badly constructed tents caked with mud, greedy mits spilling- over with goblets of pear cider, flustered looking dinner ladies serving what’s purporting to be a lamb burger. Check, check, check. But something’s missing. And that thing is CSS. Yes the five headed, Sao Paulo art-pop masters embodied the joyful, free spirit of festivals ever since their 2006 debut. Armed with day-glo cat-suits, judicious amounts of glitter and two albums (‘Cansei der Ser Sexy’ and 2008’s ‘Donkey’) that were filled with such four-to-the-floor bounders like ‘Move’, ‘Alala’ and of course ‘Let’s Make Love And Listen Death
From Above’.

Three years is a long time but now they’re back with La Liberación. Recorded in Sao Paulo and featuring contributions from Ratatat and Primal Scream’s Bobby Gillespie, it’s both a true melding of their debut’s riotous anarchy and ‘Donkey’s grungey maturity. It also shows the band pulling off some most excellent sonic tricks and, as it turns out, pulling back from the brink that they found themselves in following their grueling touring schedule.

The album shows the band who’ve matured way beyond their original sound. ‘Echo Of Love’ and ‘Partners In Crime’ both show wonderfully realised psychedelic/ acoustic influences, the latter features Mike Garson, who played piano on David Bowie’s “Aladin Sane”.

La Liberación finds the band at the peak of their powers, pushing past everything that has come before into an exciting new future.

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