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Running with Scissors is a cathartic heart ache and, ultimately, a therapeutic exploration of what it means to be alive—to love, to grieve, to regret, and to grow. It pulses with rawness and authenticity, sincerity and honesty, offering both solace and strength to anyone navigating their own emotional journey.

Running with Scissors is the third full-length album from Canadian trio Afternoon Bike Ride. Residing in Montreal, the group is made up of Lia (vocals, guitar, programming), David (vocals, guitar, drums, programming), and Éloi (vocals, keys, drums, programming). Since their formation in 2019, the band has released numerous projects where indie rock blends with acoustic pop, ambient field recordings, and lofi folk.

With each track on the new album, the three artists explore the rollercoaster ride of life’s most profound lessons—falling in and out of love, embracing grief, and navigating the complex spectrum of human emotion. The album feels like a series of journal entries, capturing moments of vulnerability, self-discovery, and personal growth. A lot has changed since their formation in 2019 but their hearts are still in the right place. Lead singer and songwriter Lia reflects on the bittersweet realization that life is an ongoing journey and we’ll never have all the answers, but we can still find meaning through love, meaningful connection, and the lessons that shape us. If life is one big lesson, then according to Lia, "I guess these songs are some classes I've taken."

The twelve song soundscape blends raw, emotional acoustic elements with subtle electronic layers and indie rock grunge, creating a textured blend that feels as vast and intimate as the album’s themes. It’s an immersive record that shifts perspectives, from the micro to the macro, zooming out to explore the universe and zooming in on the personal experiences that define our lives. Throughout the album, ABR explores the beauty of feeling deeply while embracing both the intensity of emotion and the struggles of finding purpose. "I'm finding my way through this world now," says Lia, "with the comfort of knowing I'll never know it all.”

Für sein treffend betiteltes Solo-Debütalbum "Introducing..." hat Aaron Frazer mit Dan Auerbach von The Black Keys zusammengearbeitet. Soft spoken und mit dem Aussehen eines leicht unzufriedenen Matinee-Idols aus den 1950er Jahren gesegnet, besitzt Frazer eine einzigartige Stimme, die sowohl zeitgemäß als auch zeitlos klingt. Der in Baltimore aufgewachsene, zurzeit in Brooklyn lebende Songwriter wurde als Schlagzeuger und Co-Vokalist von Durand Jones & The Indications bekannt. Jetzt tritt er mit "Introducing..." als Solist hinter dem Drumkit hervor und demonstriert nicht nur seine beeindruckenden stimmlichen Qualitäten, sondern auch sein Können als hochklassiger Songschreiber. Schon die erste Single "Bad News" sorgte für Aufsehen ("a gorgeous piece of vintage R&B" - CLASH), die sich anschließende Lead-Single "Over You" ist inspiriert von elektrisierenden Northern Soul 45s der 60er Jahre. Nur zwei Belege der erfolgreichen Zusammenarbeit zwischen Frazer und Auerbach. Die zwölf Songs auf "Introducing..." verbinden gekonnt den Soul der 70er Jahre mit Dan Auerbachs besonderer Sensibilität für Vintage-Sounds im neuen Gewand. "Introducing..." enthält klassische Message-Songs im Stil von Künstlern wie Gil Scott-Heron sowie motivierende Liebeslieder, die von Disco-, Gospel- und Doo-Wop-Einflüssen durchzogen sind. Das gesamte Album wurde innerhalb nur einer Woche in Auerbachs berühmten Nashville-Studio nach einer schnellen und produktiven Songwriting-Session aufgenommen. Auerbach holte auch den legendären Songwriter und Falsettspezialisten L. Russell Brown (schrieb früher Hits für Frankie Valli von The Four Seasons) an Bord, der den wunderschönen Opener "You Don't Wanna Be My Baby" auf dem Album mitkopmponierte. Für "Introducing..." rekrutierte Frazer eine beeindruckende Schar alteingesessener Session-Musiker aus Nashville. Darunter Mitglieder der legendären Memphis Boys (die in Dusty Springfields "Son of A Preacher Man" und Aretha Franklins "You Make Me Feel Like A Natural Woman" mitspielten), den Perkussionisten Sam Bacco sowie diverse Musiker aus dem Daptone/Big Crown Records-Umfeld.

First released on August 18, 2023, "Outline of Nature" started as an experiment in building a modular synthesizer system and ended up as a voltage controlled outpouring of love for the natural world. Sylvan-born and pastoral-powered, sap-blooded and lightning-charged, this album grew out of the damp florescent corners of the woods, each note and sound, a fractal extension of their seedling sounds. It was nurtured into being at The Twilight Research Centre, a studio facility situated on the border of Somerset and Dorset. During Covid lockdown 1.0, I spent the outdoor hours we were permitted, wandering through the centre's surroundings, in the green lanes, woodlands and corridors of the wilds with their wary and flickering inhabitants, beneath the distant eyes of the soaring buzzards and the hulking red kites. I didn't expect it, but it was in the quiet, ferociously vibrant dens of nature, that I found a deeply profound connection with the natural world. It once again made sense to feel as much a part of the woods as the trees were; I felt like a natural entity in its habitat again, not something I'd properly felt since running wild through the gullies, dells and fells of the Midlands as a child. And I became afflicted with a powerful urge to build strange electronic sound systems that were organic, chaotic, fractal and in some way reflective of the awesome natural systems that surround us and surround the centre. I plugged in the modular, and went searching for signs of life. Adding to this, just before the lockdowns, I stumbled across a three volume nature encyclopedia in a local charity shop, called "Outline of Nature in the British Isles" by Sir John Hammerton. The sub-heading reads "A Comprehensive Photo-Survey of the Varied Life of Field and Hedgerow, Moor and Mountain, River, Pond and Sea", and it's a stunning collection of grainy photographs, beautiful illustrations and wondrously poetic writing, some of which inspired track titles and of course, the album title. I also rekindled my love of Ladybird nature books such as the "What to Look for in Spring/Summer/Autumn/Winter" series, "Birds and How They Live" and "Butterflies, Moths and Other Insects", rebuilding a small collection I had as a child and discovering numerous volumes new to me. Between the two literary sources, I had a rich well of imagery, writing and pastoral nostalgia to draw from; and coupled with the extended sessions of blissing out in my own heavily ecstatic awe descended on me in the sheer grandness of the wilderness, I set about enticing out of the woods an album of phosphorescent electrical music, abundant with comparatively microscopic, but persistent and wild life-forces.

A guitar player, writer, producer, and composer, Stevie Salas has recorded on over 70 different albums with artists as diverse as George Clinton, Justin Timberlake, Buddy Miles, T.I., Mick Jagger, and Rod Stewart. Having sold over two million solo albums around the world, Stevie has been cited as one of the top 50 guitarists of all time. Dreaming of a career in music, Stevie left the small town of Oceanside, California in 1985. Eight months later he was discovered by funk music legend George Clinton as the lead guitarist for Clinton's albums. Stevie received his first major label producer credit with Was (Not Was) when he co-produced the UK hit "Out Come the Freaks" from the album "What up Dog?" Rolling Stone Magazine listed "What up Dog?" as one of the top 100 records of the decade. With an extensive solo career, Stevie has now teamed up with Deko Entertainment to reissue some of these albums starting with the 30th Anniversary of "Back From The Living (Deluxe Edition)"













k MUCH ADO ABOUT BUTTIN' [SUCKERMANGRUBBY MOUTH MIX]





[q] TELL YOUR STORY WALKIN' [MUG MASHER REMIX]
[r] CRACK KILLED APPLE JACK [GRAVY BOOTY REMIX)











[k] MUCH ADO ABOUT BUTTIN' [SUCKERMANGRUBBY MOUTH MIX]





[q] TELL YOUR STORY WALKIN' [MUG MASHER REMIX]
[r] CRACK KILLED APPLE JACK [GRAVY BOOTY REMIX)

In 2024, Kyoto Jazz Massive released their third album as a digital-only project, 30 years after their debut. It now receives the honor of a special vinyl edition, featuring brand-new exclusive mixes by Young Pulse—elevating these already great tracks to even greater heights, for both your ears and your feet.
This marks the first and exclusive collaboration between KJM and Echoes Of A New Dawn Orchestra (aka Jéroboam), the unique Parisian band that has been performing live with KJM across Europe for the past three years. On this occasion, KJM recorded four new tracks with EOANDO, including three original songs ("Power", "Love Wars", and "Impulsive Procession") and a new rendition of “Stand Up”, a previously released composition. To complete the album, you'll also find a stunning cover of KJM’s iconic track "Substream" by EOANDO, as well as their signature piece, “EOANDO's Theme”.
"Power" and "Stand Up" were recorded with Vanessa Freeman, while "Love Wars" features Bembe Segue. This London-based duo has been singing live with KJM since 2004.
"Power" is a crossover anthem, blending jazz-funk and French disco with a gospel touch. Vanessa Freeman’s uplifting lyrics call for collective awareness and energize audiences. "Love Wars" is a live-band interpretation of broken beat with a boogie spirit, enhanced by Bembe Segue’s sharp and spiritual vocals. “EOANDO’s Theme” was specially composed by Echoes Of A New Dawn Orchestra for KJM, capturing the Okino Brothers' love for boogie-funk jams with Brazilian and Balearic influences reminiscent of Azymuth.
“Impulsive Procession” fuses Afro, funk, jazz, fusion, soul, rock, house, and techno—drawing inspiration from several of KJM’s most respected musical heroes. A brand-new version of “Stand Up”, originally released in 2008, was re-recorded live in the studio with EOANDO and fresh vocals by Vanessa Freeman.
The album closes with a reimagined version of “Substream”, one of KJM’s most beloved tracks, covered by EOANDO for the official Tokyo Crossover/Jazz Festival 2023 compilation. This new version was recorded as an organic disco interpretation at Danilo Plessow’s studio in Paris.

Bereit für den Sound des Universums? Mit der „ZYX Italo Disco Spacesynth Box“ bekommst du eine einmalige Zeitreise zurück in die goldene Ära der 1980er Jahre, als Synthesizer den Kosmos eroberten. Diese exklusive Sammlerbox enthält drei LPs, vollgepackt mit ikonischen Tracks der größten Spacesynth-Legenden – Laserdance, Koto, Hypnosis, Cyber People und vielen mehr.

Ob pulsierende Basslines, galaktische Melodien oder futuristische Klanglandschaften – dieses Box-Set feiert den unverkennbaren Sound, der einst Tanzflächen, Videospiele und Science-Fiction-Träume gleichermaßen beherrschte.

Dario Bassolino is pianist, producer and composer born in Naples, where he currently resides. With an eclectic taste and an genre-defying musical ability, he has produced for and played alongside alt-R&B vocalist LNDFK, jazz-funk legend Nicola Conte, Early Sounds boss Pellegrino and has collaborated with Nu Genea, Kurtis Rosenwinkel and rapper Pink Siifu to name a few. Inspired by the Brazilian funk greats Hermeto Pascoal and Airto Moreira and their Italian counterparts such as Franco Califano, Lucio Battisti, Panella, Enzo di Domenico and Gennaro D'Auria. Bassolino’s live show has a very organic form and is inspired by jazz, funk and disco improvisation, having extensive experience playing to enthusiastic international audiences as a session musician at prestigious festivals Primavera Sound, Montreux Jazz festival, Dour Festival and We Out Here.

Bassolino's new release is located where the sea begins and the sky ends. Two tracks that carry the horizon drawing a straight line between Naples, Tunisi and Beirut. A thin but tangible line that unites the Mediterranean poles. Hence the concept of "Popoli del Mare", the multiform sound waves intertwine a composition with an incessant rhythm: the Afro contamination of Charif Megarbane finds a fit with the Italian and dreamy harmonies of Bassolino. Baid Alik is a song of love and hope. The sound, purely inspired by the research of Habibi Funk, evokes the memory of an ancestral past shared by Bassolino with the Tunisian singer Marzouk Mejri.
His voice, halfway between proto- rap and melodic, mix perfectly to the disco-cinematic instrumental.

Since 2006, listeners have been curious about the origin of the label name Italians Do It Better. Some say it's an homage to Italo Disco, others guess it's related to ancestry, but in fact it's a nod to the iconic T-shirt Madonna wears in the "Papa Don't Preach" video circa 1986.
Fast forward to a world pandemic... To encourage creativity & lift spirits, Italians Do It Better President, Megan Louise asked every artist “If you could cover your favourite Madonna song…What would it be?”

As a tribute to their label muse & the impact Madonna’s music has had on the world around us, Italians Do It Better are sharing a compilation of covers simply titled “Italians Do It Better”. One of the tracks (“Lucky Star” by Club Intl) is even produced by Max Kamins, the son of Mark Kamins, the New York DJ who helped break Madonna in the early 1980's. From the experience he says “Dance music was the soundtrack of my early childhood. Working on "Lucky Star" reconnected me not only to my father, but also reminded me that a good song is timeless".

Executive produced by Johnny Jewel, the compilation is a passport to 20 covers from the bedrooms of 19 artists across 10 different countries.

JADE has announced the release of her hugely anticipated debut solo album 'THAT’S SHOWBIZ BABY!'. The record will be released on September 12th and sees JADE work with a variety of A list collaborators on the project including Mike Sabath, Lostboy, Cirkut, RAYE and Pablo Bowman. The album includes previously released singles ‘Angel Of My Dreams’, ‘Fantasy’, ‘FUFN (Fuck You For Now)’, ‘IT gir’l and ‘Midnight Cowboy’.

JADE has described this project as being about discovery, finding herself again and a love letter to little JADE.

JADE has announced the release of her hugely anticipated debut solo album 'THAT’S SHOWBIZ BABY!'. The record will be released on September 12th and sees JADE work with a variety of A list collaborators on the project including Mike Sabath, Lostboy, Cirkut, RAYE and Pablo Bowman. The album includes previously released singles ‘Angel Of My Dreams’, ‘Fantasy’, ‘FUFN (Fuck You For Now)’, ‘IT gir’l and ‘Midnight Cowboy’.

JADE has described this project as being about discovery, finding herself again and a love letter to little JADE.

Expansive and ambitious, Tender Revolutions is the latest from Vietnam-born, Portland, Oregon-based multimedia artist Dao Strom. A fluid album, existing between genres—part ambient folk, part sound collage, part spoken word, part post rock—it blurs the line between the work of an experimental composer and the work of an accomplished singer-songwriter. Instruments slip in and out (guitar, piano, synthesizer, strings, drums, percussion) amid field recordings and samples, all anchored by Strom’s singular voice.

The songs of Tender Revolutions reflect on and embody themes of “yellow subjectivities”—the Asian body as perceived; the Asian feminine body as reflection/catalyst/consort—offering their own forms of response to troubling representations of Asian women in popular media in the West. A “re-voicing” of the problematic hit song “China Girl” by David Bowie re-inhabits this song from a discomfiting silence at its center, and serves as a fulcrum point in the album’s sequencing. Other songs utilize voice as both texture and lyric-driven telling to deepen angles of interiority and thematics of voice/silence.

While Tender Revolutions stands alone as its own whole, it also exists as part of a larger multifaceted project, drawing from a four-part song-cycle (Nhạc Vàng 1-4) and accompanying a series of hybrid-genre literary chapbooks (Yellow Songs 1-4). Released in collaboration with The 3rd Thing, an interdisciplinary publisher in Olympia.



[a] tender variation i [what is tender?]
[b] tender variation ii [when was the first time u felt loved?]
[c] tender variation iii [associations of yellow]
[d] tender variation iv [love object treason]




[i] [hailing tender]

Wah Wah 45s present two very special cover versions from our beloved Afro-electronic duo, Raz & Afla, available on 12" vinyl for the very first time! Having recently released their sophomore LP, Echoes Of Resistance, to great acclaim and support ranging from Nick Grimshaw on BBC 6 Music to Tash LC on BBC Radio 1, and the follow up remix project Remixes Of Resistance, the pair offer up their unique takes on two very different slices of club culture on twelve inches of wax.

First up, the pair tackle Aphex Twin's sleazy and sinister turn-of-the-century dance floor bomb Windowlicker and take it somewhere completely unexpected, as Raz explains:

"We wanted to go to a different place from our influences for this one. When we told people we will cover this tune everyone said 'but how?!' In Raz & Afla style. We had an idea of what elements to recreate from the original and how we can reference it within our spectrum of sounds. It was so much fun to do and really kicks off at our live shows."

It's a heavily percussive reinterpretation, replete with spooky wordless vocals, funky guitars and spine tingling synths that builds into something of a future Afro-house anthem, whilst respecting the genius of the original recording.

On the flip, Going Back To My Roots has become a mainstay in Raz & Afla's live sets, and means a lot to them personally, as Raz once again explains:

"We love this song. The lyrics resonate with us, talking about the meaning of connection to a land and its people. The history of this song is also fascinating, from Hugh Masekela and Orlando Julius through Odyssey and Richie Havens. We wanted to give it our own flavour. You can't choose your heritage and where you are born. It is always a part of you and we like to celebrate that."

Written and first recorded by Lamont Dozier in 1977, Going Back To My Roots was famously covered by Richie Havens in 1980 before becoming a huge crossover hit when interpreted by disco outfit Odyssey in 1981. Raz & Afla very much give their version their own unique dance floor feeling. It's one which has received much support on BBC 6 Music.

Die frühen Achtzigerjahre waren für den härteren Rock aus Deutschland eine ganz besondere Zeit. Der ausufernde Progressive Rock und der sogenannte Krautrock waren am Ausklingen, der Punk musste dem New Wave weichen und der Heavy Metal begann Fahrt aufzunehmen.

Einige Bands saßen zwischen 1980 und 1983 zwischen den Stühlen und können gar als „das fehlende Glied“ bezeichnet werden. In diesem Boxset
befinden sich gleich drei Schmuckstücke und Geheimtipps, die heute sogar aufregender klingen als damals. REQUIEM kamen aus Stuttgart
und lieferten auf ihrer einzigen LP einen Mix aus Hardrock, Pomprock und Progressive Rock. Gitarrist Tommy Clauss wurde später mit Bands wie ZAR
berühmt, bei denen auch ex-Uriah Heep Sänger John Lawton dabei war.

SPHINX ist eine andere Geschichte, denn hier haben ein paar italienische Gastarbeitersöhne im Raum Stuttgart eine Band gegründet. So wurde
das Debüt „Here We Are“ vom Label als „Made In Italy“ verkauft, was natürlich nur eine Verkaufsstrategie war. SPHINX nehmen das voraus,
was uns Jahre später unter Anderem Dream Theater lieferten. Eine frühe Version des Prog Metal, oder ein Vorläufer davon. Das gleiche Album wurde
von einem anderen Label 1985 als „Burning Lights“ erneut ins Rennen geschickt; dieses Mal mit einem Heavy Metal-tauglichem Coverartwork.
LIMERICK aus Saarbrücken haben als Schülerband 1980 eine heute sehr rare Single aufgenommen. Das einzige Album erschien dann 1983 – mit
deutschen Texten! Regional war der kräftige Rock mit Dialekt im Gesang sehr erfolgreich und spielte Shows mit Kim Wilde und Climax Blues Band.
Die Gruppe ist heute wieder aktiv und wurde kürzlich im Magazin Rock Hard gefeatured

The seasoned DJ & producer (GALAPOGOS4, QWEL, GLUE, ALTERED TAPES) shines a light on his love for obscure Latin disco on this scorching hot 7". In constant rotation at our office since it arrived. Def don't miss this sun drenched, surefire dance floor filler!

Mythical soul/boogie record recorded in Louisiana by Nigerian multi instrumentalist Rick Asikpo when he was studying in Houston. Layers of synths wash over drawn out, Earth, Wind and Fire inspired grooves, moving from the uptempo “Disco Life” and “Jam” to the languid boogie and two step soul of “Love” and Donny Hathaway-esque “Let’s Get High”. The album is shot through a Texan/Nigerian filter that stands as a missing link between the dancefloor experiments of Houston and Lagos. As featured on Soundway’s seminal “Doing It In Lagos” compilation.

Occasionally, one experiences serendipitous events in life. On the 13th of July this year, I received a message from Tim Trapnell, who had discovered an unknown 60’s track on YouTube and expressed his admiration for its exceptional quality. Intrigued by the message, I clicked on the link and was immediately captivated by the musical composition. Within minutes, I embarked on a quest to uncover more information about the band and the particular track. On the 16th of July, only three days after, I’ve received a message from Jim Bojorquez (aka JC), the lead vocalist of the Baron of Soul, “Hello Yann, I was delighted to hear that you have discovered and enjoyed my original composition, ‘Time or vs Tide.’ It was written by myself and Clark Baldwin. that the recording was performed live and this song was never released in any format back in the day. I have reached out to Jim Bojorquez the next day and we spent a considerable amount of time conversing via video chat about his illustrious 60-year music career as an artist in San Jose, California.

I proposed to Jim that I could release two songs from The Barons of Soul through Epsilon Record Co. I re-mastered both songs and made a deal with Jimmie that same day. So today, I am so pleased to present these two previously unissued tracks. "Time or Tide" is a powerful uptempo piece featuring an exceptional brass section and a Hammond B3. The vocals are exceptionally punchy and catchy, ensuring an unforgettable listening experience. "I Loved and I Lost” is a remarkable take of the Impressions classic written by Curtis Mayfield’s If you are an enthusiast of 60s uptempo music like Tim and myself, then this new and exceptional 45 is an absolute must-listen and must have!

An incredible journey through the dark and seductive soundtracks of the Italian nights, this compilation takes you deep into the after-hours soul of Rimini, Riccione, and Milan between the late 1980s and the early 1990s — a period of wild experimentation, underground parties, and sonic exploration. Eight rare and visionary tracks, all produced in the Belpaese, reflect a sound that was too ahead of its time to be fully appreciated back then, yet feels incredibly fresh and relevant today, as if they were made for the dancefloors of now.

In the middle of this evocative collection, a blasting remix by Milord stands out — a peak-time weapon that has already destroyed dozens of dancefloors with its hypnotic energy and raw power. Also featured is the stunning debut of Luca Sorrentini, who breathes new life into an obscure Italo-Arabic track originally composed by Ray Ridha
Credits.

Yet another solid Soul/Funk nugget lifted from the vaults of Miami's CAT Records (Another T.K. Disco subsidiary).

Often sampled, re-edited & re-jigged but never bettered! Gwen McCrae's all time classic "All This Love I'm Giving" finally see's a timely repress, just as God intended, on a dinked 45 with all original artwork intact! That's right, you may recognize this number from Cassius' 1999 hit "Feelin' For You" but this track has long been a staple of rare groove dances & sophisticated soul parties with discerning DJ's & selectors clamoring for the original 45 at any cost.

Backed here with it's original b-side slow jam "Maybe I'll Find Somebody New" this rare 45 has been re-mastered, re-pressed & brought back for 2015's dance-floors in conjunction & with the permission of T.K. Disco / Henry Stone Music, Miami USA.

Who doesn't love a good edit? And who really does them much better than Danny Krivit, a veteran of the game with millions of them (probably) to his name. Here he turns his hand to Sjuya Okino's 'Thank You (feat Navasha Daya)' which is a jazz dancer with effervescing broken beats, busy chords and live percussion under a freeform scat vocal that brims with soul. On the flip, DJ Kawasaki edits a Dimitri Form Paris mix of 'Give Your Love A Chance (feat Clara Hill)' which has a Chic-style bass riff and big disco energy that's ripe and ready to bring good times to any party.