Far away from shredding solos or fragile fingerpicking, Under The Bridge is an unexpected soundtrack that explores another side of what an electric guitar can do.

What makes someone stop scrolling to audition a track? While the reality is that taste is subjective and everyone has their own venn diagrams of reasons, track descriptions regularly show up as a primary reason editors and music supervisors push the ‘Play’ button.

Two tracks showing two sides of the same coin, On The Run (LMTL-034) hits the ground running with boisterous rap from prophpeezy.

Waves of emotion pour out of every word in a dynamic acoustic pop arrangement, Our Fallen City (LMTL-033) is a ballad for harder times.

All the blazing energy of a championship game, featuring confident and flowing rhymes and a soaring, hopeful vocal hook.

Sweet declarations of love, full of good intentions and (relatively) innocent adventure in an electronic pop fantasy.

The entire License Lab team is quite literally all over the map with composers in cities like Nashville, New York, Portland, and our internal team in California, Washington, and Wisconsin. In that spirit we wanted to highlight a few Milwaukee artists who have spread their wings and are making waves on a national scale.

Live at The Opera House is an intimate record that feels less like you’re in a gorgeous auditorium and more like this collaboration of top talent from Milwaukee’s robust jazz and hip-hop scenes are playing live in your living room.

As melodramatic as it is playful, Hyperpop is full of booming bass, futuristic synths, and uninhibited electronic percussion while vocoder-soaked vocals bounce off the walls.

Ready your racecar for Palindroma featuring arrangements that swell in the middle and have an outros that match or mirrors the intros.

A new reality TV soundtrack infused with a bit more personality, featuring flavors as varied as EDM synths, brass stabs, lively Latin piano, and bluesy guitars for every captivating, dramatic display.

With millions and millions of dollars spent on Super Bowl commercials and weeks of build up and teasers, it’s no wonder folks are analyzing these ads in an academic fashion. But no matter the tone of a spot, shouldn’t all music used be an integral part of the storytelling?

Richly textured and soft-spoken, the modern country sound of Philippe Bronchtein’s Catch My Breath explores the shadows while comforting the soul.

Featuring live improvised sonic explorations that push the boundaries of jazz and hip hop, Sidecar Noir (3ING-075) is a potent cocktail that’s good for what ails you.

The possibilities feel endless with the uplifting, peaceful modern folk sounds of Sparkle Folk (OSPK-084). Utilizing the organic sounds of acoustic guitars and hand percussion, composer Philippe Bronchtein brings out the extra shine by adding tasteful touches of Hammond organ, pedal steel, and atmospheric electronics.

Paths In Nature (MOPM-088) celebrates the seasons and reflects the many ecosystems that exist by bringing emotional ties to natural narratives.

Under My Bed (UND-58) takes the drama and angst of a teenage goth bedroom, adds some sparse pop production, and emerges from the darkness with a moody, haunting, seductive soundtrack that feels kind of bad…. in a good sort of way.

We’re all familiar with the concept of “quiet time.” While this may conjure up images of a toddler being told to go to their room for a time-out, our friends in film and television production know it as something else entirely. There is a process called “capturing room tone” and it is one of the most essential tools in an edit.