Luz Retina Edits - One shot, exemplary reworks from Tiago...

A clean sweep of undeniably funky 1985 industrial, Balearic-Goth anthems, reimagined for enhanced, 21st century dystopian escapism.

VERY limited !



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Tiago's INTERZONA 13 label has quietly gone about its business across three acclaimed and sell-out EP's His unique reputation as a DJ is matched by the distinctive and unrivaled quality of his productions. For his fourth outing Tiago treads an arguably more experimental path, and using Sem Titulo (Untitled in Portuguese) on three of the cuts here only adds to the mysterious nature of the sonic treats within. Present, as always are the deft rhythm sections and powerful arrangements, as subtle elements of Disco, Techno & New Wave provide the bedrock for his trademark off kilter melodies and soundscaping. The darker underbelly of club life may well be the inspiration, but the mood and execution are pure Tiago ! Another beauty then from this outstanding, diverse and incomparable imprint

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Tiago's INTERZONA 13 label has two sold out and superb EP's to its name already And we're very happy to present their third Tiago's unique reputation as a DJ is matched by the distinctive quality of his productions PRIMEIRA VISAO sounds like a track that might emerge in the mix on a vintage Chicago cassette, Iberican Jazz-Funk top lines and raw, snapping drum machines beneath. SEGUNDA VISAO could quite easily be a vintage Black Cock or Noid release, a wonderfully psychedelic Disco rewire, that goes way beyond the world of ten a penny edits Finally CRUZAR FACAS takes a tougher path to dancefloor emancipation, marrying a fierce, pitched down Techno groove to some seriously heady soundscape and tonal effects Another beauty then from this outstanding, diverse and incomparable imprint

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We're super excited to bring you the debut release from Portugal's finest, Tiago Miranda on his new label INTERZONA 13. Joo Joo leads the charge with a sample slammer reminiscent of the dancefloor dynamite from Japan's cult Major Force label. On the flip, Interzona is a precision percussion jam that gets hold and won't let go - pure voodoo. Finally Maquina Dos Sonhos wraps up this superb selection with a slice of tripped out Balearia. Wonderful stuff !

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Once again Leng deliver with a lovely bit of heavy electronic stompery. Tiago’s ‘The Source’ goes straight for the dark end of the dancefloor and wallows in the smokey acidic enivirons of the late night moody corner ! With a punchy throbbing bass, hefty beats, tons of spacey effects and some awesome delayed hi hats to really mess your head, this is in the box for the strobe light moment. On side-B ‘Mudds Slow Rave Mix’ turns up the acid a few notches, somehow get’s even swampier in the bottom end and slightly more whacked out on the FX, add a lovely niggling synth line for a dark heavy dancefloor work out.

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Luz Retina Edits - One shot, exemplary reworks from Tiago...

A clean sweep of undeniably funky 1985 industrial, Balearic-Goth anthems, reimagined for enhanced, 21st century dystopian escapism.

VERY limited !



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Germany
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We are very happy and honored to present you Ricardo Villalobos on his own RAWAX series!
You will find here past & present releases from the Mastermind, starting with the 25 Years
Anniversary edition of "808 The Bassqueen", formerly released on LoFi Stereo.
Special thanks goes out here to Christian Rindermann aka C-Rock!

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Coastal Commission “Bring Down the Walls”
“Bring down the Walls” was a nod to Raze’s “Break for Love”, Robert Owens “Bring
Down the Walls” and Ritchie Hawtin’s use of the Roland 606 throughout “Sheet One.”
We gave the tune a Californian psychedelic twist with conga laden drums, a moody
synth, low pulsing 303 patterns + Benjamin Zephaniahs patois call to “Move the Body
Rhythmwize!”
The first PCH releases had dropped Worldwide to International acclaim from DJ’s far
and wide across the Globe with support in London, Paris & New York. However the
local scene here in L.A that preached “Love, inclusion & Unity” was anything but that.
L.A at that time was very tribal & divided up into 3 camps. If you weren’t affiliated with
any of them (aka independent) then you were pretty much locked out of getting any kind
of gig support or the Dj’s from those camps actually playing the music.
The local feedback from Dj’s was that what we were making wasn’t “house,” but
“Techno” which was absurd to me. “Bring Down the Walls” was a mantra to “move the
bod”y and in doing so “bring down the walls” of separation not just in L.A but throughout
society in general. Thank goodness for support from people like Terry Francis, Eddie
Richards, DJ Deep & Philly Stalwart King Britt.
After years of copies going for upward of $100+ on Discogs the now freshly remastered
copies by At Jazz’s Martin Iveson are finally hitting the platters this Spring.
Jesse Outlaw “Let it Go”
I met Jesse at Beatnonstop Records on Melrose Ave with Miguel Placencia in the late
90’s. Miguel (RIP) was a mainstay in the Underground scene and had always been very
supportive of my endeavors. He had had success with a huge release on Yellow
Orange and was working with Jesse under the moniker “When Worlds Collide.” I signed
“Brighter Days” & “Set you Free” from them and released the tracks on my Seductive
imprint. They told me that they were making the tracks on a Sony Playstation “Music
Now” program and I was like FFS “What.s more Underground than that!?”
Later Jesse gave me some of his solo work. The track “Let it Go” was never mastered &
only ever cut to Dub-plate and featured on my 1st PCH mix “Pacific Coast House
Sounds.”
It has now been mastered by Martin Iveson and is available in all it’s glory.
The dreamy vocal “You need to let it go” beckons over the top of driving percussive
Latin beats and church organ which is a great compliment to the flip side of “Bring down
the Walls.”
All in all two West Coast stompers now finally available remastered on PCH in Orange
vinyl.

A - The Coastal Commission - Bring Down The Walls
AA - Jesse Outlaw - Let It Go

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Growing up on the slag heaps of County Durham Northumbria, young Sam Robson dreamed of one day finding a better way & somewhere to live with nicer bloody weather! An avid record collector from an early age he looked to music for the answer…
Born in Bradford in the late 60's and growing up in the North-East in the 70's, alternative music fast became his obsession from punk, to new wave, two tone, rock and new romantic he collected it all. Electro and Hip Hop hit his local boombox in the form of "Crucial Electro" on StreetSounds Records and he was soon hungry for anything new & electronic coming out of the U.S.
His call was answered one day at school his mate Gareth (a fellow music enthusiast) lent him a 12" record from Chicago that opened up his mind & changed his course. The piano and gospel tinged record was none other than Marshall Jefferson's "House Music Anthem" that told him "to move your body" and that "house music was gonna set you free…' The rest is History. forward 10 years later to 1996 and Big Sam is now DJing a weekly House night in Santa Barbara alongside LA stalwart DJ Doc Martin. He lives just south of Santa Barbara two blocks from the Pacific Ocean in the sunny beach town of Carpinteria, (about an hour north of Los Angeles).
The warehouse is kitted out with a full studio set up of Roland Corp's latest & greatest but he also has the City Planning Commission breathing down his neck and threatening the boot as his residence unbeknownst to him had been built without any city permits! He is told that his only hope for keeping his building safe from demolition is THE CALIFORNIA COASTAL COMMISSION who protect everything 3 miles in on the entire California coast.
With the Coastal Commission on his mind & while managing L.A Dance Mecca music store "Beatnonstop Records" he meets fellow Brit, musician & house-head Chris Penny aka CPen. They quickly bond at The Cat & the Fiddle over a pint & early 90's rave and Jungle toons. Sam invites Chris up to his studio in Carpinteria for a weekend getaway from LosAngeles and a studio seshion. That night they stuff Chris's Rhodes piano in the boot of Sam's tiny Beemer and shoot up the coast on Highway 101 Carpinteria bound with their mate Lil Johnny "Toaster Oven."
After burning the midnight oil (with fellow studio boffin & PCH engineer "Evil Eye" Nate), when daylight broke "Rhodes through Space" was born. A mastering session was quickly booked and the white labels arrived a week later where they were quickly stuffed into a suitcase and it was off to South Beach/Miami to promote the track at for WMC aka Winter Music Conference. In quiet desperation and not knowing what to name the collective "COASTAL COMMISSION' featuring CPen was agreed upon and scribbled onto the White Labels. As fortune would have it, Sam would run into Philly House stalwart King Britt outside his hotel who was a regular customer at the store back in L.A. King would be one of the first peeps to receive a copy of the record. That night King invited Sam to the club where he broke the track at the Basement Jaxx Conference party party to a packed house alongside legends Daft Punk, Armand Van Helden & DJ Sneak.
25 years later the Coastal Commission are back, remastered and Cpen has since received two Grammys with Honey Dijon for their work on Beyonce's House album. "Rhodes Through Space" is a musical tribute to the club/rave/warehouse party that is still relatable to this very day.


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Tippex in My Eye’, Roman Flügel’s third single with Erol Alkan’s Phantasy Sound, nonetheless charts exciting new territory for the prolific German producer, finding him in collaboration with London-based vocalist and songwriter, PYTKO. Already established as a member of Phantasy’s creative family following her cultishly received 2022 debut LP ‘The Way We Blush’, PYTKO searching, surrealist lyrics and performance provide perfect synthesis for Flügel’s first ever vocal collaboration. Somewhere between digital dub and avant garde shades of electro-pop, ‘Tippex in My Eye’ slowly works a strange and spacious magic, meditating on bassweight while moving ever-forward with sparse piano and distinctly Flugelesque synthesis. Throughout, PYTKO’s enigmatic vocals intertwine with this ambitious arrangement, acting as an incantation for a brief but refreshingly strange journey. Each of these elements are repurposed with hypnotic, psychedelic impact on an alternate ‘Dance Mix’. Immediately tapping into Flügel’s well-established nous for turning minimalism into euphoria, PYTKO herself becomes a guiding force for the dancefloor, as the track builds thrillingly toward a cosmic breakdown and dramatic release. Roman Flügel’s ‘Tippex in My Eye (ft. PYTKO)’ will be released on Phantasy on May 15th 2026, available on limited-edition vinyl and streaming.

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The Coastal Commission “The Conversation” Le Conversation was a French bakery located right across the street from the old PCH studio “The Hall of Records” situated at the end of Melrose Avenue on the edge of Hollywood. I had relocated from the Sunny shores of Carpinteria and brought all the gear with me right on the edge of Hollyweird. Often times you would find me stumbling over there on a Saturday & Sunday at the break of day, blood shocked eyes and whiskey on my breath for a fresh coffee and chocolate eclair after an all-night sesh making beats.
Around that time we had started working on Drum & Bass tunes for my label CRIMESCENE and were experimenting with different techniques. One weekend I was hosting Goldie’s old producer and Moving Shadow label boss Rob Playford alongside Mc Jakes, EZ Rollers and Calyx for a festival just outside of LA. After taking them for breakfast at Le Conversation we all piled over to mine for a smoke and Rob gave me some tips on making Growly Basslines. That next week we got to work. During the process we watched Gene Hackman in “The Conversation” about a crazy spy setting up microphones outdoors to entrap a bad guy and also caught Optical Dj’ing with Ed Rush up the street at Johnny Depp’s Viper Room. After an all-night sesh of “Soul Caliber” Matt & Ben gave us some pointers & not long after “the Conversation “was born.
An overdriven Bassline, Dubbed out bleeps sampled from a New Zealand crosswalk layered thru Space echoes and old Roland Delays gave the track an other-worldly feel.
The 303 chugs along breaking down into haunting Zulu choruses while the bleeps roll in and out and the track growls like you’re drifting through space. Definitely a late night affair. Originally on the Beat nonstop label and fetching a pretty penny on Discogs we’ve
brought it back on Pacific Coast House remastered my the Mighty Martin Iveson. Enjoy.
Boing “Currency” Finally this one has been unearthed. Boing originating from Argentina blessed us with this & it was a secret weapon of DJ Doc Martin for years. I paired in with The
Conversation on this slab of wax as it too has an other-worldly feel of dancing in outer space. The B-line is absolutely massive on a rig this and the wiggly bleeps keep splashing in & out before the monster synth line comes in and lifts you up to the rafters. Word has it the Wiggle boys hammered this alongside Swag lad Grant Dell. This was only available on 10 white labels prior to getting this full release.
Run don’t walk to cop this, an absolute gem in your arsenal!

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Limited Orange Vinyl EP

Dallas Native Lance Desardi arrived in Los Angeles alongside his roommate JT Donaldson sometime around 1999. At that time I was the head buyer & managing L.A’s largest independent dance music shop in the heart of Hollywood “Beatnonstop” on Melrose Avenue. We had just put out a double pack vinyl on Beatnonstop and a single on PCH feat. Myself & Cpen on both.

Lance & J.T were introduced to me by Chris Penny aka CPen who was also a Dallas transplant to L.A and as chance would have it they were both looking for jobs. The two had been sojourning in Chicago for about two years under the tutelage of Spencer Kincy aka Gemini and the House Mayor of Chicago Derrick Carter.

I hired them both and we soon became fast friends. I would lend them pieces of gear and keyboards etc to work on projects and suddenly we had this little community of producers and artist’s working on beats, bringing them into the shop for “show & tell.”

This created a healthy atmosphere of us all pushing each other to make songs for the labels. This is one of the reasons Seductive, Pacific Coast House & Pacific Traxx etc were started to house the different projects and alias’s of us at that time.

One day Lance showed up to work at the shop beaming from ear to ear a some pep in his step. Him and another co-worker Jaime G had gone into the studio that week and banged out “Jazz Salad.”
As soon as Lance slipped in the DAT tape and the track came thundering through the speakers with Jaime’s deep Latin intro I knew it was going to be a big tune in the underground. Such a groove and so infectious it is undeniable even today 20 odd years
later.

So nice to see it back out on wax and not at the hefty discogs price tag of over a hundred quid! The flip side “Boing” is a deep late night groover that fits nicely into a Mark Farina style set with bonus beats to boot. Not to be missed. Classic.

Words above from Sam Robson of Pacific Coast House.

A1 - Lance Desardi - Jazz Salad
B1 - Lance Desardi - Boing
B2 - Lance Desardi - Boing Boom Shox

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It's time to set those jaws to wobble mode as this funky favourite label is back with more serious sounds for the disco, this time from Hysteric. 'Italo Mystery Theme' is a brilliant timewarp to the 80s with its overtly streamy and seductive vocals over neat guitars and stepping disco drums with lush chords. 'After Dark' is more breezy and hip-swinging with its airy vocals and wet claps, then 'Sugar Daddy Again' brings rugged analogue bass sounds and snappy drums under some erotic vocal work. 'All Right' shuts down with a UK street soul-cum-disco groover that's lit up with nice neon chords.

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I met Aaron Parr back in 1992 aka the golden era of electronic dance music. Everything was kicking off in the L.A Underground and he was working slap dap in the epi-center at Beatnonstop Records on Melrose Avenue in the heart of Los Angeles. At the time I was living in Santa Barbara still doing my college radio show "The Joy of X" and coming down to L.A on the weekends almost every week since 1989. Aaron had been a mainstay down the street at Streetsounds Records where my then Young friend 19 year old Steve Loria worked alongside warehouse dj & underground legend Barry Weaver.

These were heady times. Clubs, after-hours and renegade break in warehouse jams were the order of the day…every day! The shops fueled the dj's with the dope records and the ravers with the party flyers, the Record Stores were the hub of the whole scene and the key was befriending these upwardly mobile soon to be underground superstars if you wanted fat slabs of wax AND to know where the real deal undergrounds were shaking…literally.

In 1992 I got selected for the U.S Olympic Basketball team and headed back to Europe in an effort to make it to Barcelona and get smashed for the GOLD by the dream team in front of the whole World…no thanks! We got knocked out by Petrovic and the Czechs right b4 Barcelona!
Anywho after 3 months I returned to Cali and there had been a shift, Steve Loria moved up the street from Streetsounds & opened Beatnonstop and it was HUGE! It had quickly become the largest independent record store in the U.S. The scene was massive, everything had exploded. I got in where I fit in and started a weekly Techno club "Happy Planet" on Tuesdays and a House club "NYC" with Doc Martin on a Friday. Both were rammed.

Aaron the industrious Brit from Nottingham & his bredren Dave Fong went to work early too, putting out the Rudiments EP on Worldship Records and then following up with Psycho Ray in 1998.. In 1998 II closed my Culture shop "Soma" down in Santa Barbara, packed up my studio & sound system and moved to L.A official. I had gotten the offer to manage Beatnonstop on Melrose after Steve Loria left and jumped at the chance.

I quickly put together the Beatnonstop Record Label, releasing a double pack "Pacific Coast House EP" feat myself and local producers Aztech Sol, CPen and Kenneth Graham/Steve Loria. I then kicked off PCH Records with "Rhodes Through Space" and after a drunken rendezvous at the Hall of Records Studio one night I signed Aaron & Daves Teflon Dons "My Vice" to the labels.

Vice was right down my alley a dark, grimy acid track with menacing Pacino samples.
After a buying trip for Beatnonstop to NYC. Harry the Bastard from Watts took me down to meet fellow Brit Stefan at Dance Tracks in Manhattan where I found the sample "Our Music" on an accapella in the bins. Super inspired after two weeks trolling round every record distributors warehouse (Watts, Nemesis, Syntax, Downtown etc) and hitting every record store in Manhattan (Vinyl Mania, Discorama, Frankie Bones shop, Satellite and on and on) I came home to L.A and me and Nate loaded up the Emu 64 Ultra sampler and penned "Our Music."

The track is obviously very New York inspired and was received well by Big Apple Dj's David Morales, Junior Vasquez, Roger Sanches & Baby Hec Romero. I would definitely say this track was a slow burner elsewhere and took off later getting the nod from DJ Deep in Paris, + Terry Francis, Eddie Richards and Mr. C in the UK.

It got no love in L.A surprisingly but everywhere else across the country with Miguel Migs and DJ Garth in the Bay, King Britt in Philly and DJ Pope in Baltimore. Now it's back on wax after 25 years remastered by the mighty Martin Iveson and I think the World is finally ready!


Track list:
A – Teflon Dons – Vice
B – The Coastal Commission – Our Music

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