Owens lends his distinctive vocal stylings to “The You That’s Inside,” the latest work from Tresillo. Within the single’s release, four different mixes of the track serve as a showcase of the group’s impressive breadth of sound, combing the spectrum of house music from peak time to more melodic elements perfect for any sunrise set.

Kicking things off with the original mix, “The You That’s Inside” serves an epic string-driven groove that floats wonderfully atop Owens’ soulful blend of spoken word verses and soaring vocal melodies. The “Epic Mix” delivers on its name, elevating the single with an entrancing arpeggio that fills the gap between syncopated synth stabs.

A more dance floor-oriented vibe moves to center stage in the “Straight Up Mix,” bringing with it a rolling groove that trades the previous mix’s oscillating arpeggio for a more focused version suited for peak time in a dimly lit club. To round the release out, a “Sunrise Mix” phases out many of the percussive elements of “The You That’s Inside,” centering itself on Owens’ vocal work and airy pads that make it not only a fitting closer for the release, but for any afterparty DJ set.

Tresillo and Robert Owens’ “The You That’s Inside” is slated for release on September 17th.

With the help of Tap Music Publishing, Heard and Owens (of Mr. Fingers fame) filed the complaint in June – two months after Trax Records Founder Larry Sherman‘s death. According to 5 Magazine, they allege that Sherman falsely claimed they had transferred rights for several of their definitive releases to him when he registered with the U.S. Copyright Office. Because of that, they claim they haven’t received “a single accounting or payment from defendants for monies derived from the exploitations of [their] musical works.”

Rachael Cain, who now runs Trax, has asserted that Heard and Owens purposefully waited until after Sherman passed away “knowing that [he] was no longer able to defend himself.” The filing goes on to say that because the “Can You Feel It” producers admit to entering into written contracts with Sherman, the label owner had merely misstated the law in his dealings with them. Citing case law from decisions in G&G Closed Circuit Events, LLC v. Castillo and Sosa v. DIRECTV, Inc., among others, it asserts that misstatement of material fact must have taken place for the incident to constitute fraud.

If correct, the motion would dismiss seven of the eight counts of fraud raised in the suit. The defense also seeks to absolve Cain herself from responsibility as she was not yet involved with Trax at the time Heard and Owens’ songs were signed.

Having provided a platform for artists like Frankie Knuckles, Jesse Saunders, Marshall Jefferson and Phuture, Trax Records is widely regarded as the original Chicago house label. Among more informed dance music enthusiasts, its legacy is often overshadowed by Sherman’s alleged unsavory business practices. In the same month that Heard and Owens filed their complaint, for instance, a fundraiser was launched to offset royalties the label allegedly owes Chicago house artist Adonis for his 1985 single “No Way Back.”

Hearings for Larry Heard and Robert Owens’ lawsuit against Trax Records will proceed in US District Court for the Northern District of Illinois. More information on the filing is available via Law360.

Heard released deep house as Mr. Fingers, and as Fingers Inc. alongside Owens. According to a Tap Music statement obtained by Music Week, the lawsuit submitted June 23rd seeks damages for alleged “exploitation of the artists and their works, including unpaid royalties.” Music produced under both projects found a home on Trax in the ’80s, when the label famously popularized the Chicago house sound.

“After doing several releases independently, it was so disappointing that my earliest venture into the music business was with a label in the community that turned out to be dishonest, like with many other artists that we hear about all too often,” said Heard. “We are simply seeking justice and fairness. Maybe our efforts will shed light on the many predatory practices that have been in place for a long time in this industry.”

The lawsuit arrives at a time when recent events have brought the historic exploitation of black artists to the forefront of electronic music fans’ awareness. Demuir uploaded a YouTube video about race and dance music not long after after Black Lives Matter protests spread across the globe. This week, Awakenings were called out for failing to include electronic musicians of color on the lineup for their digital makeup event.

“Larry Heard and Robert Owens have filed this lawsuit to begin the process of righting the wrongs they suffered,” said Robert Meloni of Meloni & McCaffrey, the law firm who filed the suit. “Our hope is that it may inspire other similarly situated African-Americans to stand up for their rights as well.”

Trax Records’ reputation for unsavory business practices often overshadows its history of shaping house music. Label co-founder Larry Sherman, who passed away in April, himself admitted to misdeeds during interviews like the one in Chicago house documentary Pump up the Volume.

Label President Rachel Cain issued a statement in response, claiming that Canadian investor Casablanca Trax Inc has retained all rights to music by Heard and company despite her best efforts over the past 15 years. “Since 2002, Trax Records has had no control over the Trax classic catalogue, which we intend to rectify,” she wrote. “I would like them to know I have not been in control of the classics and have been fighting to get them paid.”

Read Tap Music Publishing’s lawsuit against Trax Records in its entirety here.