Austria's Mike Inzinger began his MIR Records vinyl and digital project in 2022, and has since released 5 EPs to great fanfare and support, providing a must-hear catalogue of tracks with each new package.
Continuing to explore different realms of electronic music, be it acid, ambient, deep, electro and raw techno, his purist works are always interesting and atmospheric by focusing on overall timeless, classic creations with nods to Detroit and yesteryear excellence.

W016 – Oovation & Jares – The Shift (Inc. Coeus, ACNØR, Turker Remixes)
Label : W
Catalogue Number : W016
Weight : 180gr

Colour : White

- TRACKLIST -

A1 Oovation, Jares – The Shift
A2 Oovation, Jares – The Shift (Coeus Remix)
B1 Oovation, Jares – The Shift (ACNØR Remix)
B2 Oovation, Jares – The Shift (Turker Remix)

From Germany to Montreal, a cross-continental dialogue takes form as Oovation and Jares unite for The Shift, a sweeping coalition of emotion and rhythm marking both artists’ debut on W. Anchored in cinematic depth and driven by kinetic pulse, The Shift stands as a powerful first statement, further expanded through stunning reinterpretations by Coeus, ACNØR, and Turker.

The original take of “The Shift” finds Oovation & Jares constructing a restrained groove before thumping kicks and meandering blips send us off on a highly narcotic affair. With the foundations in place, a swaying bassline takes control of the piece, infusing it with an irresistible sense of movement. As we venture deeper inside the rabbit hole, a lush arpeggio rummages across the piece, taking us closer to an airy break where echoes osurrender to a new directive.

For the first reimagining, Coeus drives “The Shift” into more dangerous, sensual territory. Built on a thunderous rhythmic foundation, the Serbian producer laces the mix with ghostly vocal traces and a relentless synthetic tension. The result feels cinematic in scope: an after-hours odyssey pulsing with urgency and redemption, where desire and danger move in lockstep.

Next, ACNØR transforms The Shift into a perpetual motion device where tension breathes and recedes like a living organism, shimmering under dim light. Reflective and transportive, this version feels like moving through mirrored corridors. Each twist refracts a new emotion, a new identity, culminating in a tantalizing entropy.

Finally, Turker closes the circle with a radiant reconstruction that leans toward transcendence. Textured percussion, raspy stabs, and a gleaming lead line spiral upward, pushing “The Shift” toward a horizon bathed in gold as vocal phrases drift in and out of focus, painting the mirage in full technicolor for a finale that feels both cathartic and luminous.

RAWAX proudly presents Acid Jesus aka Roman Flügel & Jörn Elling Wuttke with their groundbreaking debut album called "Acid Jesus"from 1993!
LIMITED WHITE VINYL EDITION - FIRST COME - FIRST SERVE!

Order: https://dbh-music.com/shop/release_view/16249

This triple vinyl LP presents for the first time, the legendary Klang Elektronik
released debut CD / album from 1993, which was in it’s original form never released on vinyl
before. It is collecting a string of tracks, written and produced by Acid Jesus, between
December '92 and July ’93.

Infotext : Acid Jesus - Debut Album ( RAWAX ) LIMITED WHITE VINYL EDITION
Following the title of the classic Ecstasy Club record - be it a direct influence or merely a
coincidence - Acid Jesus was the first of many collaborations between Roman Flügel and
Jörn Elling Wuttke.
Situated in Germany’s then blistering techno scene and especially a mirror of Frankfurt at
the time, the early recordings are also a feedback loop to what was happening in the UK and
the USA before and at that very time. With many definitions and interpretations of techno
already in place, and while its triumphal procession slowly geared itself into exhaustion,
Flügel and Wuttke succeeded with their own and unique take on it, that owned as much to
Underground Resistance and the Belleville Three as it did to Sven Väth and Andrew
Weatherall.
Depicting the booster detonation of what was to become the holy label trinity of Playhouse,
Klang and Ongaku, this is a collection of tracks and experiments in sound that won’t sound
dated, yet classic, mesmerizing and eternal.
Jesus loves the acid and vice versa.
Text – Gerd Janson


Pre-order: https://dbh-music.com/shop/release_view/16143
Teaser: https://soundcloud.com/dbh-music/rx-03-lp-acid-jesus-acid-jesus-debut-album-rawax

Artist: Acid Jesus
Title: Acid Jesus (Debut Album)
Label. RAWAX
Genre: Techno, Experimental, Acid
Cat: RX-03-LP
Re. date: 26.11.2025
Format: 3xLP, Digital

Tracklisting:
A1 MF 1
A2 Move My Body
B1 Faith In Acid
B2 Disappear
C1 H. A. L.
C2 MF 2
D1. On The Couch
D2 Mulunga
E1 Odyssey
E2 Fairchild
F1 Razzblaster
F2 Jesus

w+ by Roman Flügel & Jörn Elling Wuttke
Re-mastered by Oliver Lieb @ Lhaudio.com
Vinyl cut by W.J.Henze & Jörn Elling Wuttke @ Lhaudio.com
Worldwide exclusive distributed by www.dbh-music.com

Acid Jesus - CD / Album – Pressespiegel, Reviews ( 1993 )

Die beiden ersten Maxi-Releases, auf Klang Elektronik, zählten zurecht zu den
hochgelobtesten deutschen Techno Produktionen 1993.
Mit der soeben erschienenen CD werden die sechs Titel, der ersten beiden Acid Jesus
EP’s, mit sechs bislang unveröffentlichten Tracks vereint. Das Album präsentiert den
bislang besten Crossover, zwischen Acid House und Detroit-Techno. Dabei offenbaren
Roman Flügel und Jörn Elling Wuttke einen fast schon unverschämten Enfallsreichtum.
“MF-1” beginnt zurückhaltend mit einer wehmütigen Stringsequenz über monotonen
Rhythmusspiralen, während sich “MF-3”, mit Handclaps, Strings und hochfrequenten
Sounds schnurstracks auf den Weg in die Transmat-Ruhmeshalle macht. Die
Verbindung von meist stringgetragenen Flächenmonstern, mit harschen und
vertrackten Acid-Tracks, zieht sich wie ein roter Faden durch das Album ( “HAL”,
“Fairchild”, “Razzblaster”). Auf der clubtauglichen Seite können “Move My Body”,
Odyssey” und “Disappear”, in einem äußerst schmackhaften Tribal-Acid-Detroit-Style,
überzeugen. Kurios sind die afro-jazzigen 70er Jahre-Zitate bei “Mulunga” und der
exaltierte Gesang bei “Jesus”, im gleichnamigen Schlussspurt des Albums. Bleibt als
Bilanz, dass mit Acid Jesus endlich eine der führenden elektronischen “Artificial
Intelligence” Formationen aus Frankfurt kommt.
( Text : Jochen Ditschler / Groove Magazin, November 1993 )

“A sensible Detroitfeel techno album from Germany – very eerie.”
( Dave Angel / I.D. Magazin 1993 )

“This is an excelent album no techno purist should be without. Something Kenny Larkin
or Derrick May would like, if they heard it. “Move My Body” and “Odyssey “, sounding
like something produced by Carl Craig. The cut “On The Couch” is an interesting
ambient trancer. This record is a winner.”
( Frankie Bones / New Musical Express November 1993 )

“Meist fängt es mit einem sphärischen Motiv an, dann kommen andere Soundfolgen
dazu, die erst mal ein wenig Zeit benötigen, um ihren Platz zu finden, sich dann aber
dort so völlig selbstverständlich einfügen, dass die Harmonie ungeahnte Ausmaße
erreicht, nur um dann wieder auseinandergenommen zu werden. So viel Groove, so
viele neue Sounds, so viel Liebe zum Detail, so viel Soul : Groß.
( Spex Magazin / Dezember 1993 )


“Eine Platte die ohne Vorbehalt jedem US Techno-Freak gut gefallen wird. Nach dem
überwältigendem Erfolg der ersten Klang Elektronik ( “Move My Body ), die letztens als
einziges deutsches Gegenstück zu seinen Detroiter Ahnen galt, braucht man nicht zu
denken, dass dies ein One Off wäre. Tracks die keine Sekunde lang bekifft grooven,
sondern immer schneidend und exakt, mit den Räumlichen Möglichkeiten, Katz und
Maus spielen. Alle Stücke sind sensationell gut. ( Frontpage Magazin / 1993 )

Worldwide exclusive distributed by www.dbh-music.com

RAWAX proudly welcomes Atom heart to the family!

Atom™ (also known as Atom Heart and often confused with Señor Coconut, real name Uwe Schmidt) is a German composer, musician and record producer of electronic music. He is often regarded as the father of electrolatino, electrogospel and aciton (acid-reggaeton) music.

1983-1990

Atom™ began making music in the early 1980's, first playing drums, then switching to programming a drum computer after he had heard a Linn Drum on the radio. In 1986 he co-founded the cassette label "N.G. Medien", on which various tapes of international artists, including the Canadian Electronic Body Music act "Frontline Assembly" and his first musical work under the name "Lassigue Bendthaus", entitled "The Engineer's Love", were released. Soon after, he started to work on what would become his first official Lassigue Bendthaus record release, the album "Matter". The recordings and production for "Matter" began in 1986 and took almost 4 years, until the album finally came out in 1991 on the German "Parade Amoureuse" label. "Matter" as well as it's related singles and maxi-singles were recorded and mixed by Tobias Freund (Pink Elln). "Lassigue Bendthaus" until that point, was musically categorized as "Electronic Body Music" (EBM), even though part of the success of "Matter" may have been the fact that it didn't quite fit the category and already incorporated musical elements of the 1990's. Uwe Schmidt played his first live show as "Lassigue Bendthaus" as the opening act for the british group "Meat Beat Manifesto" at the Frankfurt "Batschkapp" in 1989.

1991-1994

Still living in Frankfurt, Uwe Schmidt was directly influenced by the emerging "pre-techno" movement of the late 1980's known as house and acid house. A sub-label of "Parade Amoureuse" released some of Schmidt's dance floor oriented productions under the alias "Atom Heart" which he adopted as his main artist name from then on. The early 1990's saw a series of 12-inch vinyl productions, mainly aimed at the dance floor, which were released under a variety of different project titles such as Atom Heart, Slot, etc.

In 1992 he was in charge of producing a series of tracks for the yet to be widely known DJs Pascal F.E.O.S. (Resistance D), Ata and Heiko M/S/O (Ongaku). Uwe Schmidt produced and co-wrote titles such as "Ongaku" and "Cosmic Love", which became successful prototypes for the appearing "Trance" movement. His activities as a music producer continued with the Austrian multimedia artists "Station Rose" whom had just moved from Vienna to Frankfurt in 1992. The 12-inch "Digit Eyes" was produced by Schmidt and Station Rose the same year. During the production of "Digit Eyes" he was introduced to Tetsu Inoue, a New York based japanese electronic music producer, with whom he founded the "Datacide" project in 1993.

Out of the "N.G. Medien" nucleus the record label "POD Communication" was founded in 1992. After the bankruptcy of "Parade Amoureuse" and its sub-labels in 1992, Schmidt moved his activities to the "POD Communication" label on which he released a series of 12-inches and albums under the guises of Atom Heart, Lisa Carbon and Atomu Shinzo. Also releasing on "POD Communication" was the German artist Pete Namlook whom Uwe Schmidt first met at the "POD" office in Frankfurt. Due to his releases on "Parade Amoureuse" and "POD Communication" and his successful production works, Schmidt had quickly obtained a reputation that let him play live concerts all around the world. Together with Tobias Freund, who by then still used the "Pink Elln" pseudonym, Schmidt played a live show at one of the first "rave" parties ever in Finland in 1992. The live concert was recorded and released on "Ongaku Music" in 1992 known as "Elektronikkaa - Atom Heart & Pink Elln live in Montreux and Helsinki" and became one of the first released live Techno live recordings.

A vast amount of productions were released worldwide due to the licensing activities of "POD Communication", "Ongaku Music" and a variety of other Frankfurt based record companies. After "Parade Amoureuse" closed down in 1992, his first album "Matter" was re-released by the Italian record label "Contempo Records" from Florence.

By 1993 Schmidt released the follow up album to "Matter" : Lassigue Bendthaus - "Cloned". "Cloned" was produced and licensed to "Contempo Records" together with a sample CD titled "Cloned:Binary" which contained the sounds used on the original "Cloned" release. "Contempo Records" went bankrupt in 1993.

Due to open payments by those labels, lack of a recording studio and unresolved recording contracts, Schmidt decided to take some months off and lived for half a year in Costa Rica (end of 1992 until early 1993). On the way back from Costa Rica, he stopped over in New York City, where he visited Tetsu Inoue to record the first "Datacide" album. Back home in Frankfurt, his interest in Latin Music started to grow and in fact the birth of the "Señor Coconut" moniker can be allocated somewhere around that time. Even though "Lassigue Bendthaus" had not brought him much luck until then, he decided to start recording his third album during 1993 entitled "Render". Because of the stagnation and inherent ignorance of the "Techno" movement that surrounded Schmidt's work, he soon began to distance from this musical format and scene. He also felt that the DJ and the dance floor where very limiting targets for his musical output and that many of his musical ideas would not be compatible with it. As a consequence he founded his own record label "Rather Interesting" in 1994.

Bt this time, Pete Namlook had founded his "FAX Records" label and a new scene of musical styles appeared, such as "Ambient", "Jungle", "IDM" and others. Uwe Schmidt, apart from his monthly release on "Rather Interesting", continued recording with Tetsu Inoue ("Datacide"), Pete Namlook ("Jet Chamber") and Victor Sol ("+N") during 1994. That same year, the "Lassigue Bendthaus" albums "Render", "Render - U.S. Remixes", "Matter (second re-release)", "Cloned" (first re-release) and the 12-inch "Overflow" were released by the Belgian "KK Records", a label that would officially declare bankruptcy in 2000. Right after the release and re-release of the "Lassigue Bendthaus" albums, Schmidt began to work on the last album to be released under that project name called "Pop Artificielle".

1995-1998

In 1995, Uwe Schmidt collaborated with Bill Laswell and Tetsu Inoue on the FAX release "Second Nature" which was recorded at Laswell's studio in Brooklyn. Towards the end of 1995 another collaboration was concretized in Tokyo where Schmidt, Inoue and "Yellow Magic Orchestra" founder Haruomi Hosono recorded the first "HAT" album. "HAT" was released on Schmidt's "Rather Interesting" label and Haruomi Hosono's "Daisy World Discs". In an effort to escape the German winter, Schmidt spent the ends of 1994 and 1995 in Australia. A man with the same idea was the German music producer Bernd Friedmann whom he met in Melbourne in 1995.

Two more "+N" and "Datacide" albums were produced between 1993 and 1996 as well a one album each month on "Rather Interesting", all of them under different names which Schmidt later refers to as "working titles", "headlines" or simply "words that label a musical idea" rather than being "aliases" or "projects" in the traditional sense. Logically all works of Uwe Schmidt would later be summarized under just one name: "Atom™". With a lot of traveling, playing live shows world wide such as Love Parade in 1994 and Sonar Barcelona in 1994, as well as the stagnation to be felt in his european surroundings, Schmidt prepared for his departure from the old continent. Together with Dandy Jack, with whom he formed the project "Gon", two live shows were played in Santiago de Chile in March and October of 1996. Schmidt and the Chilean Dandy Jack, whom lived all his life in Germany and Spain, on their way back from Chile, decided to "try to relocate" to Santiago in 1997.

1996 finally sees Uwe Schmidt's "Señor Coconut" idea come to realization. After a couple of unsuccessful attempts during 1993-1995, still living in Frankfurt, he recorded 8 tracks in the later declared "Electrolatino" style. In a fever vision the name "Señor Coconut", placed on top of a coconut texture, a design that would become the artwork of the first "Señor Coconut" album appeared to him. Even though Schmidt tried to complete the album in Frankfurt, the preparations for his move to Chile prevent this plan. In March 1997, Schmidt together with his colleague Dandy Jack, moved to Santiago de Chile where they shared a rented house and installed their studios. During March and April he finished the "El Gran Baile" album, which would be the first work bearing the name of "Señor Coconut".

Uwe Schmidt continued releasing one album per month on his Rather Interesting label, though due to the difficulties of adaptation in Chile, decided to reduce his output. "Akashic Records", a Tokyo based label owned by Towa Tei, licensed "El Gran Baile" for the territory of Japan. Towa Tei further requested a remix by Uwe Schmidt. By the end of 1997 Uwe Schmidt and Dandy Jack's ways split and Uwe moved out of the shared house (while Dandy Jack moved back to Germany one year later).

During 1998, Tetsu Inoue and Haruomi Hosono visited Uwe in Santiago. The second "HAT" album was recorded. Towards the end of 1998, on his way back from Australia to Germany, Bernd Friedmann stopped over in Santiago and together with Uwe Schmidt they recorded their first "Flanger" album called "Templates". "Templates" was recorded in a programming "tour de force" of one week at Uwe's "Mira, Musica!" studio and released in 1999 on the british "Ninja Tunes" label.

1999-2003

"Lassigue Bendthaus'" last album, "Pop Artificielle" was finally finished and released in 1999. Due to a record company decision the album was released under the name of "LB", an abbreviation that stands for "Lassigue Bendthaus". "Pop Artificielle" caused quite a media reaction worldwide, due to the fact that the album contained electronic cover versions of famous Pop and Rock songs. "Pop Artificielle" stylistically may be considered as being one of the first productions that merged "Song" structures with sounds coming from a 90's techno background. Many refer to it as an initial point for the development of the "glitch" genre.

During the production process of "Pop Artificielle", the idea was born to cover the German electronic pioneers "Kraftwerk" in a yet to be defined style and as a different production. Meant to be rough sketches, Uwe Schmidt started to program a couple of Kraftwerk cover versions in traditional "cha cha cha" arrangement and decided to make this the second "Señor Coconut" album. Entertained by the result of the first programmings, he produced a total of 4 songs which he sent to some record companies. One of those companies, Towa Tei's "Akashic Records", immediately licensed the album, entitled "El Baile Alemán", releasing it upon completion of the production in 2000. European and North American record companies remained uninterested until triggered by the hype "El Baile Alemán" had caused in Japan. Soon a European, North American, Mexican, Hong Kong and a Russian release followed and the title "Showroom Dummies" was featured in the Mexican movie "Y tu Mamá también". Uwe Schmidt obtained official permission by Kraftwerk themselves to release "El Baile Alemán", though had to remove his version of "Radioactivity".

"Señor Coconut"s first european tour started the 19th of August 2000 in Germany. A U.S. headlining tour was scheduled, but had to be canceled because of visa problems of one of the 7 chilean musicians that accompanied Schmidt. In parallel to "Señor Coconut" project, Schmidt continued working on rather obscure ideas, some for Rather Interesting, some that were released on other labels, such as the "Geeez 'n Gosh" (2000 and 2002) albums which musically merge abstract electronic programmings and gospel vocals. "Geeez 'n' Gosh was released on the german "Mille Plateaux" label, which went bankrupt in 2004, leaving Schmidt as well as many fellow musicians, unpaid. The "Flanger" project was also continued, Friedman and Schmidt recording the "Inner Space/Outer Space" album in Santiago de Chile, which was then released in 2001.

2004-2008

Apart from his own productions and various collaborations he was solicited to remix artists such as Depeche Mode, Martin L. Gore, Air, Cesaria Evora, Juan Garcia Esquivel, Sktech Show, Towa Tei, Moreno Veloso, Merzbow and many others. An exclusive track entitled "White Car" was produced for and released on the Japanese anime movie, "Appleseed". Still, Uwe Schmidt spent most of the time touring with his "Señor Coconut" moniker, which had grown to a full 9-man orchestra. The "Señor Coconut" album "Yellow Fever" was released in 2006. The album contained cover versions of "Yellow Magic Orchestra" songs and became a very successful release in Japan. Amongst the "YMO" members themselves (Haruomi Hosono, Ryuichi Sakamoto and Yukihiro Takahashi) a vast amount of guest musicians appeared on this album such as "Mouse on Mars", "Akufen", Jorge Gonzalez and others. "Yellow Fever!" was performed live at "Sonar Sound Tokyo" the same year, with both Haruomi Hosono and Yukihiro Takahashi performing each one song with the full orchestra on stage. The Señor Coconut album "Around the World" was released. It contains guest participations of Stephan Remmler ("Trio: DaDaDa") and the austrian crooner Louie Austen.

2009-Today

Uwe Schmidt's "Rather Interesting" label remains his largest unified body of work. To date, R.I. alone has over 46 full-length releases under numerous aliases and styles, of which most of them are written, recorded, mixed and mastered by Schmidt himself. Additionally, Schmidt handles all the label management and most all of the album artwork and design.
Remixes for Les Baxter, Perez Prado, Jamie Lidell, Plaid and Japanese superstar Kumi Koda have been continuing to garner attention for Uwe Schmidt. The collaboration "Surtek Collective" with Vicente Sanfuentes, invented yet another musical style called "aciton", a blend of "acid" and "reggaeton". "Surtek Collective" mainly tours Latin America, playing shows in Mexico, Venezuela, Brasil, Argentina and Chile.
The "Flanger" album "Sprituals" was released in 2005 on Bernd Friedmann's label "Nonplace" and the "HEADZ" label for the Japanese territory. A couple of years later songs from "Spirituals" got licensed for the Hungarian movie "Bibliotheque Pascal".
From 2007 until 2010, collaborating with Japanese composer Masaki Sakamoto, he produces the album "Alien Symphony" and the modified (online) version of it, called "Meteor Shower" which was released in 2010. The same year sees Atom™ acting a mini-role in the Mexican movie "Orol". By the end of 2010 a short South American tour is played with the "Sr. Coconut" project.
Atom™, in collaboration with Japanese musician Toshiyuki Yasuda produces a cover version of the brazilian Bossa Nova classic "Aguas de Março", pre-released on the compilation "Red Hot 2" in June 2011. The vocals on this song are performed by Fernanda Takai and Moreno Veloso.
A photo exhibition called "Winterreise" was unveiled in Tokyo in May 2011, accompanied by a"Playbutton" release. "Atom™" performances at the Lincoln Center in New York City, "Communikey Festival" in Boulder, the "Raster-Noton"/"Mute" festival at the Roundhouse in London, Labyrinth Festival in Japan plus many others.
Exclusive contributions to Ryuichi Sakamoto's "Kizunaworld" project and Towa Tei's "Mach" online platform.
A second "Winterreise" exhibition was held in Frankfurt (Germany) in October 2011 as well as the "Winterreise" soundtrack was released in May 2012 through "Raster-Noton". "atom-tm.com" was launched in July 2012 and serves as Atom™'s official news platform and archive. As a result of the "Winterreise" release, Atom™ received an invitation from Richie Hawtin, to play an ambient set at his club in Ibiza. The invitation was accepted and the then entitled "Alpha txt" ambient set created, which was then again performed, opening the "labyrinth" festival in September the same year. An initially abandoned album, which in 2005 carried the working title "Hard Disc Rock" (as a self-reference to the 1997 Atom™ title with the same name), re-surfaced as "HD", after some of the unfinished tracks raise interest at the Raster-Noton label. The album was finished during the second half of 2012, and mixed down during January 2013. The release of "HD" was then scheduled for March 2013. In the middle of the "HD" production, the terrible news of Pete Namlook's sudden death reach Atom. Months later, as a practical consequence of Namlook's passing away, the "Rather Interesting" label, which both Pete and Atom ran together since 1994, was shut down forever. Early 2013 see Atom™ playing various live shows, such as the double opening feature at Berlin's "CTM.13", where he first performs "Bauteile" with colleague Marc Behrens, and later on, together with "Material + Object", plays a 3 hour "Alpha txt" set. Extensive promotional activities for "HD", which, amongst other results, bring Atom™ on the front page of Germany's "De:bug" magazine and the preparation for the "HD" and "Ground Loop" live sets keep Atom™ busy during the first couple of months of 2013.


(written with kind help of Jahnavi Stenflo and Nathan Jantz, movin' levers!)

Title: Raw Courage
Artist: Kakeru
Label: Shaw Cuts
Cat.: SC022
Date: November the 7th of 2025


Tracklisting:
A1: Quagmire
A2: Mirror Forest
B1: Swaying
B2: Broken Bubbles


Infotext:
There is a new artist from Japan followed by the name Kakeru who is giving his Shaw Cuts debut with ãRaw CourageÒ, telling the story of an emperor besieged by an army who then entrusts his child to the Black Dragon Clan heading off to a dangerous journey.
An attempt to usurp the Ming Emperor's throne by the sinister martial artist simply known as ãold monster" and his armies results in most of the palace being massacred. ãQuagmireÒ and its vibrant percussive pattern carried by a heavy broken kick and a driving bassline help the emperorÕs infant son to escape and put in care of the Black Dragon Clan.
En route they are attacked by government forces but rescued by two knights. They prove to be a valuable addition to the party in subsequent encounters with their pursuers. ãMirror ForestÒ and its laid-back atmosphere, mysterious vocal snatches and shining pads carried by an expressive drum pattern help the travellers parrying every sneaky attack on their journey.
Trying to head to the White Dragon Clan in order to seek for help, the squad has to masquerade and take several battles, always protecting the baby in tow. The razor-sharp percussions, corrosive bass and thrashing kick of ãSwayingÒ tremendously supports the warriors in each fight.
Finally they make it to the temple of the White Dragons where they show their Black Dragon seal as a sign of solidarity. But all of a sudden the mood changes. ãBroken BubblesÒ and its menacing atmosphere built up by a monstrous sub bass, reduced but impactful drums and subtle synth elements underline the potential threat. Did they walk into a trap? Is there enough energy left for one big fight? Raw courage is vital now.

RAWAX proudly welcomes Amir Alexander to the Family! We are very happy to present you an outstanding release as one of many! It's Amir's biggest Hit called "Blessed Are The Meek" which became a retouch by Patrice Scott, Javonntte and Amir himself! Highly recommended!

Artist: Amir Alexander
Title: Blessed Are The Meek
Remixes by: Patrice Scott, Javonntte, Amir Alexander
Label: CHIWAX
Fortmat: 12"
Cat: CHIWAX033
Genre: House
Tracklisting:
A1. Blessed Are The Meek (Patrice Scott Remix)
A2. Blessed Are The Meek 2 (Amir's Piano Re-Fix)
B1. Blessed Are The Meek (Javonntte Mix)
B2. Blessed Are The Meek (Amir's Hard Piano Banger)

Worldwide exclusive distributed by DBH Music (www.dbh-music.com)

Artist: Mike Inzinger
Title: Ice Age
Label: MIR Records
Catalogue: MIR0004
Format: 12" Vinyl, Digital
Vinyl Release Date: 01-09-2024
Digital Release Date: 15-08-2024
Genre: Electronic
Style: Techno
Biography:
Austrian DJ and producer of electronic Music. He is the founder of MIR Records.
Press Release:
Mike Inzinger comes with a mighty 4-number beast and the magnificence of a new sound.
A journey into the adventurous ice age. Big and fat and powerful, raw dark sound but elegant
pulsating intensity.
What more could you ask for?

Artist: Mike Inzinger
Title: Mission A.D.
Label: MIR
Catalogue: MIR0002
Format: 12" Vinyl
Genre: Electronic
Style: Techno
Release date: October 15, 2022

Tracklist:
1. Inner Self
2. Lithium
3. Somewhere in Time


Biography:
Mike Inzinger born 01/01/1976.
Austrian DJ and producer of electronic Music.
He’s also in the groups: Alpha 3 and Alpha Tracks in Vienna, Austria.

RAWAX presents Sakro & Max Jacobson - Walking Into Mirrors EP
Our long time friend Sakro teamed up with Chicago's Max Jacobson to deliver here a great 3 tracker for the dance floor. Highly recommended!

Direct order: dbh-music.com/shop/release_view/15782
Teaser: https://soundcloud.com/dbh-music/rwx022-sakso-max-jacobson-walking-into-mirrors-ep-rawax

Artist: Sakro & Max jacobson
Title: Walking Into Mirrors EP
Label: RAWAX
Format: 12"
Genre: Minimal Techno/ House
Cat: RWX022
Release date: 04.03.2024
Tracklisting:
A1. Walking Into Mirrors
A2. Planet Arium
B. Chapter 16 Remember To Go Home

Worldwide exclusive distributed by www.dbh-music.com

A new Label is born...Houseworx is the new plattform for special "oldschool" flavoured housemusic...

Lets start with Luca Bear a young talented Artist from Italy who's just released on Robsoul ltd, Break New Soil, Viva Music and many others...

allready played by:

Andrew Grant, Frank Leicher, Nihad Thule, Mirco Violi, Sercan, Sebastian Altstadt, Robert Drewek...

Florian Meindl
Metaphysics EP
Denis Rabe Remix
Vinyl: 28th March 2018
Digital: 27th April 2018
1. Metaphysics
2. Holomorphic Function
3. Bell's Theorem (Denise Rabe Remix)
4. Bell's Theorem The X Vinyl Series continues with label head Florian Meindl at the helm with the upcoming release Metaphysics. Synonymous with deep, dark techno, Florian does not disappoint with this 4 track EP, enlisting in demand producer and Rabe label boss Denise Rabe on remixing duties. Playing live with his Modular Synth set up, Florian began working on the concept for what would become these three original tracks while playing shows over the last month. The live jam character can clearly be felt in the first two tracks Metaphysics and Holomorphic Function. Florian’s original Bell's Theorem has a deep melodic structure. With Denise Rabes interpretation, the track is contorted through some serious distortion pedals and broken beat to match her dark take on the synth line. The outcome is an impressive piece for one of those never ending nights in concrete walled rooms with oversized loudspeakers.

Paula Temple
holomorphic function is wild, will play


Speedy J
Thanks, will test.

A.Mochi

Bell's Theorem for me! thanks



Shlømo

nice release


Rebekah
Like Holomorphic Function :)


Yotam Avni

GREAT STUFF AS ALWAYS



Isolated Lines

Very nice! I like Bell's Theorem



Ø [Phase]
Nice. Thanks


Sigha

killer release



Alessandro Boni / Tapefeed

love the remix by Denise Rabe, I'll play it for sure! Thanks

Alexander Kowalski
Some very nice tools. Nice Denise Rabe remix.


Z.I.P.P.O

will play thanks



Nihad Tule / Sloboda

a2 for me



Henning Baer

DOPE!

Mørbeck

Metaphysics gefällt mir sehr! Danke!!



Arnaud Le Texier

Some nice tracks here. Thx



Paul Ritch

really cool release will test out for sure



Charlotte de Witte

Metaphysics is pure fire!



Donor

A2 and the remix are great! Looking forward to playing.



Shlomi Aber

Good work from my man Florian .



UBX127

Title track is cool! Thanks!



SOPHIA SAZE

DENISE RABE REMIX THE ONE!



AWB

holomorphic Function is amazing, denise rabe version of Bell's theorem and original are also really picky. thanks



Mental Resonance

Holomorphic Function is amazing , my favourite without a doubt will play !



Thomas Hessler

Nice one! Thank you!



Ossa di Mare

Very solid!



Erika / Interdimensional Transmissions

good relase :)



Amotik
Denise Rabe mix is cool!



Sev Dah

Holomorphic Function all the way! Sick!



Amelie Lens

very very cool EP! thanks



Mønic

Will play a couple of the tracks this weekend. Thanks!



Pacou / Tresor

a1 works well for me





Kamikaze Space Programme

Holomorphic Function is a gem



Opuswerk

Denise Rabe's remix is fantastic. pure pressure. thanks!!!



Adam Craft

Thanks! Will for sure play! Love the Denise Rabe Remix as well



Ambivalent / LA-4A

A great package of tracks, as always from Flash!



Kyle Geiger

Holomorphic Function for me!



Robert Lamart

Denise Rabe Remix!! Support! Thx.




Advent

great package, A2 & B2 Are my picks..




Doka

Thank you! Great work



Samot / NX1

Nice one!! specially Denis rabe remix... Thanks



Sawlin

Killer!



Distant Echoes

Holomorphic is my fav, thanks!



Dave Miller / Abstract Division

Denise Rabe remix for me!



Alex.Do / Dystopian

Deep chords in A1. Thanks.





Ryuji Takeuchi

b1 and a2 tracks for me. thx for the promo.



Positive Centre

Great stuff across the whole release but Denise's Remix is the one!




Ben Gibson

Bell's theorem is immense!



Chris Stanford / Prodigal Son, Jaded

Metaphysics for me!


Industrialyzer:
nice one thanks


Takaaki Itoh:

Bell's Theorem (Denise Rabe Remix) is top for me.



Yoann.. / Goldffinch

thanks, bell theorem is my pick


Amandra / Ahrpe, Obscura, Semantica

Holomorphic Function !!

Title: The Shadow Boxer
Artist: Heritage
Label: Shaw Cuts
Cat.: SC025
Date: 21/10/2026

Tracklisting:
A1: Looking Back, Moving Forward
A2: Dancehall
B1: 2003
B2: Haywire

Infotext:
'The Shadow BoxerÔ - a tale of oppression, discipline, and inevitable revenge - is re-interpreted by British producer Heritage, whose musical style perfectly aligns with the Shaw Cuts squad.
Ku Ding trained in Tai Chi under Master Yeung for over a decade. This discipline prioritizes health, self-defense and above all, the virtue of tolerance. 'Looking Back, Moving ForwardÔ mirrors this holistic training for body and mind through its broken rhythms, dreamy pads, and warm bass.
Despite facing relentless harassment at work from his tyrannical boss Jin Dasheng, Ku Ding remains calm and endures the humiliation. The playful percussions, vocal snippets, and powerful low-end grooves of 'DancehallÔ underscore the protagonist's deep-rooted discipline and resilience.
However, after his lover A Bao is killed and both his master and his friend Hu Binglian are successively murdered, he is forced to rise up and fight back using his martial arts prowess.
'2003Ô comes in swinging, fueling Ku Ding with the perfect mindset for the battle ahead via punchy drums and an energetic bassline.
Driven to mete out justice, Ku Ding prepares for his revenge without betraying his sacred tolerance. The complex breakbeat patterns of 'HaywireÔ carried by recurring, subtle chords, give him a final boost. But can this rational approach succeed? You better find outÉ