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Needle Sharing is back! Following a creative pause, where Roland Danielzig made his project go on hiatus to pursue other creative interests, Needle Sharing returns to center stage in 2011. Marking the 20th anniversary of the project, German underground heavy weight HANDS Productions releases Needle Sharing's third full length album „GANG BANGS!“. Along the relaunch of the project, Needle Sharing has seen the addition of long time friend and partner in other projects, Sascha Turtur as a full and permanent member. Bringing his own creative energy and intricate production knowledge to the mixing desk, the sum of Roland and Sascha's energy adds up to more than just their parts combined. „GANG BANGS!“ is a true monster of an album, taking you on a tour de force covering the entire twenty years of creative influences and inspiration. Needle Sharing's trademark Rave Energy is boosted by current production technology, incorporating influences by artists such as Noisia, Spor, Chase and Status, End.User and Bong-Ra. The album kicks off with “All Links Are Dead”, an uptempo stepper with a sampled raga vocal deep in the mix and a seductive melody. Equally irresistible is the Dubstep-infused “MEDIZIN”, revealing a new facet of Needle Sharing. A potential crossover hit is the almost-rave “Knocked Out”, featuring vocals by none other than Industrial veteran (and now Breakcore wizard) Patrick Stevens aka Hypnoskull! Tracks like “Corporate Whore” or “Fukushima Disco” bear more aggression and a kind of digital darkness that is a rather new feature for Needle Sharing. Such prepared, one plunges into the rest of the album with the tracks increasingly oscillating between catchy and abrasive – but somehow the mixture seems strangely, perfectly right. In the process of delivering a top notch production value listening experience, Needle Sharing proves that Breakcore can be and, in this instance is, most definitely dance floor compatible, including heavy basslines and the mighty wobble... Stroke your chins to this, nerds!

In 2011, Heimstatt Yipotash celebrate their 10th birthday – and the duo from Dresden have invited not less than 21 acts who they have met throughout their career, have a strong personal relationship to or they feel influenced by. As good hosts, they let the guests have most of the fun this time and make available tracks covering their entire lifespan to remix – while keeping only two tracks for themselves. Why two, you might ask? Well, two tracks for two entitities, as the birth of HY in 2001 was actually a fusion of Heimstatt and Yipotash who had started their creative endeavours separately, both doing live performances and self-releasing limited CD-Rs, which they still even continued after their first joint efforts. Since then, this true H.Y.Breed band has spawned 3 albums, performed a number of concerts and festival gigs and been active in side projects such as the 8-bit-retro “No Go!” or “S?X Only”. Back to the party and the musical H.Y.Breeds that provide it’s soundtrack – CD H. starts the evening with P.A.L. setting the mood with deep drones and dishy beats, that structure is taken up by DISPLACER in a very cinematic piece. SONIC AREA contribute quirky, distorted anti-pop, and SHORAI make the original tune one of their own glossy electro tracks. 16PAD NOISE TERRORIST speed it up, gritty almost-rave with a range of effects, before HY drop a headfuck party tune with distinct vocal samples. Next up is THE_EMPATH, he unwraps a playful workout with metallic beats, while TAKHTAHK do it even more distorted and devilish. With GREYHOUND we finally have something strongly on the Industrial side with the original’s Asian sound wall well in the mix – this version has sure shot hit potential! Now let’s descend into the basement party area for the last three tracks of disc 1: ARX KAELI, the special friend from Russia, leans towards dementia with distorted beats, TARDIVE DYSKINESIA bring along unsettling Dark Industrial and DAZZLING MALICIOUS close this disc on a strongly experimental trip with psychoactive sound explorations. CD Y. starts with a trinity of very catchy and attractive versions: KEEF BAKER provides a playful and deep tune with a classic melody – adult entertainment; TONAL Y NAGUAL work around an irresistible pop melody that melts a hypnotic vocal before THE RORSCHACH GARDEN introduce to us a far-out kind of beat-driven pop music with Philipp Münch’s distinct vocals. Next up an Industrial couplet – CONTAMINANT work in the upper bpm range and PROYECTO MIRAGE infuse HY with high-octane beats. AHNST ANDERS treat you to a short period of relaxation before HY themselves take some Electro beats into screaming overdrive. GREYHOUND have another gift, a reversion of their track from disc 1 relying solely on the distorted madness without the beats. THE_EMPATH appear again as well, with a very cinematic, atmospheric tune this time. MEZIRE represent a singular style on this collection with an unsettling, dark Power Electronics style track. SPHERICAL DISRUPTED take the party to space, and ATROX operates in zero gravity with just a few tiny bits of sound. MAO closes a colourful night with the most experimental and unsettling, the weirdest and most freeform piece of them all. On your way home, you will feel a sense of elation, for you have witnessed a special party, a congregation of creative spirits and their combined efforts that you know will leave a big impression on you for along time.

Two years after their well-received debut „Rising From The Ashes“ Syntech release their sophomore album. The cover already displays the dichotomy that is the core issue of “P’som-Sett”, the struggle of nature against the forces of industry – which is most dangerously manifest in the global destruction of rainforests (and the species living within) for the sake of profit. Musically this is reflected in an impulsive clash of tribal beats vs. machine rhythms, imbedded into dark atmospheres. The album starts with the gloomy perspective of the downbeat “Blackest Night Sirens”. “Labyrinth” contains all the features of “P’som-Sett” in a nutshell: A wild tempest of beats and percussions, relentlessly pushing the tune forward, while a claustrophobic atmosphere permeates the mind – cinematic and threatening! “Shy” has an almost Trip Hop-like vibe, while the title track is a more straightforward option for the Industrial dance floor, as well as the electro-infused “Voltage Boost”. Throughout the album you will find a lot of diversion through change of rhythmic pace, ethno-flavoured percussive stretches and melodic fragments deep in the mix. “Whiteout” seems to lead the album towards a more quiet ending, before the closing title “Is Not My Problem” assaults the listener with a dehumanized clutter of noise that devours all structure. Whereas “Rising From The Ashes” had been a rhythmic monolith that clearly disclosed the association with Industrial outfit Greyhound through the dominance of looped, pounding beats, Syntech now move further into a territory of their own with “P’som-Sett”. This album manages to take the listener on a 78 minute journey that never gets tiring and offers some surprises en route. And - repeated listening is recommended in order to discover all the little details to be found within!

The 13th Monkey’s sophomore release carries a self-explanatory title again: This is the return of the Northern German duo that redefined the paradigm of bang! With their HANDS debut in 2009. They maintain the concept of real-time, live in the studio recording of jamming with tabletop sound gear, thus preserving the energetic fascination of their acclaimed live sets. Industrial Techno is the Monkey’s territory, located in the golden triangle of the mighty 4/4 kickdrum, fizzling hihats and wiggling 303 lines. With an approach like that, the question is – how much can you change? The new album actually brings about quite a bit of change: While keeping the trademark structures of the debut, it appears to be less aggressive and straightforward on first listening. Generic acid lines are very sparingly used, instead this album is full of audio trickery, washes of noises, sound bits and oppressive atmospheres, emphasizing the Industrial aspects of the 13th Monkey sound. The opening title ‘Korrosionsangriff’ sets the mood for this trip, beneath crackling noises and dark, brooding atmospheres the rhythm clocks in well below 140 bpm. ‘Piezo Resistance’ is a prime choice for Rhythm Noise DJs, ‘Kryophaze’ a superb cut of Industrial Acid. Most tracks are around 145 bpm and superbly bass-heavy, typified amongst others by ‘Re:Thrilled’, a nice and vaguely EBM-ish example of the more subversive side of the 13th Monkey: Moody, threatening, full of tension, a track so ultimately urban in sound. Towards the end of the CD the band launches two longer tracks: The 10-minute rave bastard ‘Sojfu’, sporting surprising breaks and Japanese vocal samples, and the epic closing title ‘Guenon’: Starting with the quasi-rhythmic structures generated by carefully layered noises, before the kickdrum comes in and out time and again over the whole 16 minutes of this standout piece. Is there a genre called “Psychedelic Gabber” – this is the single-handed invention of it! How about the self-proclaimed objectives of 13th Monkey - digital fractures, revolution in the wires? Andreas Thedens and Harm Bremer have used their long-term expertise in music production to create an album that reflects various moods and extends beyond themes of aggression and subversion; it also takes a deep look inside and explores the darker realms of the human psyche. Yet, there is still plenty crossover appeal that will please fans of Rhythm’n’Noise and followers of more courageous Techno alike. With just two albums, 13th Monkey have not only developed a trademark sound, but also proven they can apply plenty of variation to it. Welcome back, Monkey!

The 11th edition of the annual label Festival Forms of Hands follows again the concept of an exclusive label showcase. So this festival compilation offers 12 exclusive tracks from Rhythm’n’Noise over Idm to Electronica and is a good opportunity to follow the musical development of the HANDS label. For those in attendance, the festival compilations became a must-have souvenir anyway over the last years, for those who can’t come it constitutes the chance to catch up through the tracks presented. Libido Formandi starts this edition with a nice example of how his beautiful debut album sounds. Angina P enchants the listener with her special brand of atmospheric Drum’n’ Bass – her next fullength is eagerly awaited by many! Change of pace then: The Maschinenkrieger and Disraptor take their mayhem to the Industrial dancefloor. Shorai present their own brand of Electro. Empusae further elaborates his nightmarish soundtrack leanings before Winterkälte disrupt the darkness with a crispy Rhythm’n’Noise track. Wieloryb present a refill of their pounding and massive HANDS debut album and Hysteresis are in their usual genre-defying mood. Incite/ are hard to grasp, playing with strangely distorted electro sounds, before Greyhound contribute a noisy kicking piece. Edgey continues in the high-speed breakbeat vein of his recent album before the curtain closes over a new version of a vinyl-release Techno track by Orphx. Again, this compilation is more than just an overview, it’s an especially valuable collection of exclusive tracks of artists with very different and highly individual profiles. Limited edition of 1000 copies.

Stefan Böhm is known for his technical knowledge, and so he has recently been very busy with his jobs as a producer and remixer, with technical assistance and mastering for various other artists. Besides that, he has continually been active as a DJ and performed as Nullvektor live – and now he graces us with his first album after four years! As on his previous albums, the special focus of this album lies on the variety and strength of the rhythms and the sonic minimalism that stems from his occupation with Techno music. Besides that, he is never afraid to integrate noisy and experimental aspects, consequently operating on the border strip of Rhythm’n’Noise and Techno. After the introduction of ‘Abgeklärt’, the album sets sails for the conquest of the dancefloor. ‘Hast du genug?’ might be a rhetorical question, this should actually have the masses scream for more. ‘4 Liter Ouzo’ is a typical example of Stefan’s humour, a kind of beat-driven, electronic stab at Greek folklore – and maybe the result of continued spirit consumption? ‘Rückwirkung’ and the closing track ‘Deine Schuld’ are pieces that should please the fans of Rhythm Noise, while the title track with it’s subdued rhythm, eerie atmosphere and washes of white radio noise actually presents a moment of introspection among the rhythmic onslaught of the album. The album title proves to be very adequate: The eclectic nature of Nullvektor’s artistic vision clearly sets him apart from others, as does his mastery of the machines at use. So Nullvektor walks alone, holding his head up high – let’s be thankful for it.

incite/ - widely recognized for their immersive audio-visual live performances - presents ‘Dare to dance’, the follow-up to the Hamburg based duo´s 2009 debut-album ‘Mindpiercing’ (also on HANDS). Kera Nagel and André Aspelmeier, awarded several times for their genuine combination of rough, distorted industrial IDM-beats and monochrome visuals, deliver a complex and inspiring work: ‘Dare to dance’ continues from the predecessor’s agenda with ten driving audio tracks that merge elaborate beat structures with disruptive noise bursts, based on ear-catching tracks from their recent live-sets. The result lifts the two's music onto a new level: unconventional danceable beats, fragments of shredded melodies and synth excursions set up on an extraordinary sub bass foundation. A strongly consistent and innovative album! The CD is again enhanced by two grayscale and immersive Quicktime-videos in the signature incite/ style. This is perfect proof that you can successfully operate in different fields of art and integrate your efforts so that the result is more than the mere combination of both. incite/ are not “just” visual artists, but also musicians that chart a territory of their own, a peculiar brand of braindance that is very attractive and manifold and aptly reflected in their visual and performance art. ‘Dare to dance’ - both, a clue to the twist within incite/'s musical development and a call to the audience. The more courageous among them might even dare to dance this time.

Libido Formandi is a a new project by a known face from the Hands label roster, Greek artist Manos Chrisovergis aka Last Days Of S.E.X., as such known as purveyor of relentless pounding industrial noise. This new creative output is aptly named: Libido Formandi means the desire to create new forms, and really, it is quite a different cup of tea. ‘Insignificancy Rising’ is dominated by remarkably versatile rhythms, alluring shuffle beats in the lower bpm range that are consequently broken up and twisted, sped up to pounding momentum, or even distorted into digital abstraction. This rhythmic backbone is then contrasted with spiky ambience and fragile melodies. The result is a densely atmospheric and entertaining album following a clear outline, very electronic in sound and yet deeply emotional. The last two tracks are remixes by the wonderful Subheim and HyDrone, and both follow the same idea: They emphasize the cinematic, soundtrack-like quality of Libido Formandi’s music by means of melodic enhancement. Especially the HyDrone mix, with it’s string and organ sounds and the whispered vocals makes for a dramatic, intense ending of the album. So has the desire to create new forms been successful? ‘Insignificancy Rising’ operates in the grey area of Industrial music, counteracting the dark and abrasive aspects with tripping grooves. If you like the sound of HANDS label mates Empusae or Morbus M. you should check out this work. In total Libido Formandi clearly presents an idea of it’s own – and simply a remarkable debut!

Canadian duo Orphx have been a regular contributor to the electronic music scene from the early 1990s onwards, and they have since managed something like squaring the circle. On the one hand, they are one of the few acts in the scene to have developed a trademark sound: an Orphx track is always unmistakeably Orphx. On the other hand they enjoy appreciation from a wide variety of audiences. The industrial dancefloor crowd loves them as much as the more intellectually inclined listening fraction, and more recently they have also won over the techno audience with their vinyl releases. For such a level of recognition there can only be one explanation: The sheer quality of their sound design and the immense imaginative power of their music. Orphx return now with their new and long-anticipated studio album Radiotherapy on HANDS. Once again, the Canadian duo have taken their unique hypnotic sound into new sonic territories, this time focusing on relentless electro rhythms and deep dub darkness. Pulsating percussion and modulating frequencies mesh together with organic soundscapes and cascading waves of noise to create a journey that moves from claustrophobic tension to deep hypnotherapy. Each of the album's nine tracks creates a different sound and atmosphere but a sense of dread and unknown danger runs throughout. Radiotherapy explores the themes of illness and health, death and rebirth, creating a mesmerizing sound world of invisible energies and lost transmissions. Embrace and enjoy!

Belgian act Hysteresis are no newcomer to the scene, with two albums and two Maschinenfest performances constituting a decent pedigree. Since their mother label Spectre has gone into suspension, they have now joined HANDS to release their creative output. Previous Hysteresis releases have earned them a reputation for extreme eclecticism, and >There IS No Self < continues that path: It opens with a disjointed rave rocker (“I Dose”), strangely familiar but queer enough in sound to make sure one won’t take it too seriously. Such tempted the listener drops into the rollercoaster seat and enjoys the ride. On the way, lots of distorted beats explore the thrillseeker’s physical capacities and samples are scattered everywhere. Unexpected detours are taken through raveland (stab, stab!), and a very prominent feature are tribal beats, blissfully proclaiming the praise of the rhythm. And every now and then there is that unique atmosphere, making for a coherent listening despite all that variation in tempo. For the open-minded listener, there are lots of tunes to discover: “Assange” is a potential hit on industrial dancefloors, “Dark Gravity” I s a wonderful, Panacea-style rave monster, and beautifully strange tracks are to be found all over, like the anthemic “Hellish Gospel” (crazy ethno samples) or the closing track “Indub”, which is just what it’s called, Industrial Dub. THERE IS NO SELF is a thoroughly enjoyable, entertaining album, sporting a crisp production and a plethora of ideas that are very convincing.

Wieloryb is Polish for whale, and the band does have a lot in common with that animal: It rarely surfaces, it has a long lifespan and when it appears, it makes a massive impact. Founded in the early 1990s, Wieloryb from the city of Gdansk (aka Danzig) were a pioneering act of dark electronic music in Poland, scoring some quick success with their Euro Electro sound at the time. Around then they started performing regularly, among others with Jimi Tenor and Pan Sonic. Soon that first incarnation of Wieloryb disappeared, and only a couple of low key releases saw the light of day during the nougthies, suggesting a much more experimental and aggressive direction. Now they’re back for good with a proper album for HANDS, and EMPTY is no quiet return for sure. Rhythm’n’Noise is the score, tough and relentless, with only the slightest distraction thrown in: A distorted vocal (in “Matt”), a metallic proto-IDM melody (in “Gear”), the occasional sample – but apart from that, pure, unadulterated rhythm terror, with a strong Industrial Hardcore flavour. This is where the experience of a seasoned performing act comes in – an album that relies so heavily on rhythm needs proper programming, and it’s all very skilfully done, with enough variation to keep it rocking all the way to the end. Among all the potential dancefloor smashers it’s quite hard to pick out standout tracks, but let me mention “Shiva” for the sheer brilliance of how they’re hammering a heavily processed Bollywood vocal onto a nail board of broken beats. All in all, this is a very modern take on the Rhythm Noise genre, a workout that guarantees multiple adrenaline rushes.

This limited, 300 copy, hand-numbered, 6 Track CD-EP includes over 30 minutes of new and unreleased tracks. Regarding the title, Pachinko To Hanbaagaa, you are probably curious how it sounds, but you can be sure this mini album offers 6 typical powerful Ryhthm’n’Noise tracks from Mono No Aware, delivered from his numerous live performances in the last years, or on his 4 released studio albums. This 6 track Rhythm’n’Noise club smasher is full of energy, noise and distorted beats. Packed in a thin version of the common Hands paper pack, the release comes with a Hamburger on the front, as well as a nice Hamburger Sample by Andy Warhol on the track Hanbaagaa. This mini album is exclusively offered for our customers at our HANDS online shop or merchandise stands.

This new and 5th album of 5F-X continues where they left off with 'The Xenomorphians your Friendly Invasion', powerful club-oriented electro sci-fi tribal industrial at its best. Flight Recorder 5.0 offers 8 new tracks and 2 remixes of tracks you probably come in contact with in the clubs. Typical powerful beats meet electronica sounds, lo-fi sci-fi sounds and radio messages. Some of these messages are difficult to understand, but we were able to record things such as files of the pulsating audionautic sequence controller - 'a.s.c.- epsylon' become an announcement of impending groove-quakes during the flight recordings. Giant wobbles stalking the com traffic, assimilating everything in its atmospheres. With a 5F-X crewmember working the controls, the satellite FX-5 in flight traffic-scanning mode reached down to update the xenomorphian invasion coordinates. Powerful, melting rhythmic styles catch the pilots and hypnotize their feet. The 'Crowdscanner 5000', capable of scanning through any life form synopsis in the airfield-spheres, is translating an audionautic groove-control unknown to Earth. Dear Earthlings this is an X-File Record! This is not a Test...

Rafael Martinez Espinosa aka Geistform from Barcelona convinced us over the last years at all the important festivals and on his releases, as a producer with modern aesthetic of analogue industrial beats, full of energy - in some ways connected to the rhythm’n’noise scene, and in some way close to minimal techno and idm. On his 4th studio album, this time dedicated to Transistors, that without them, electronic music would not be possible. On the structures of static, kicking noise rhythms with minimal, analogue techno-industrial bass lines, his compositions are arranged with short wave radio sounds field recordings of background noises and frequencies captured in a electric power-station. Electrons at work.

Taking the techy, aggressive powernoise of 'Square Form Annihilations' and the cleaner more methodical beat-driven styling's of 'Flawed', EDGEY delivers his third and long awaited full-length release on HANDS. No stranger to conflicting sound design; EDGEY's 'Misfire' explores the dichotomy of rough and powerful noise with the smooth and methodical structures of breakcore-oriented drum’n’bass and idm. EDGEY's latest release is as dangerous as a misfire. It’s storm full of energy and roughness and for sure he is one of the brightest stars in the breakcore-drum’n’bass universe. Stephen James Knight AKA EDGEY is a New York based electronic music producer, writer and artist working in the veins of Drum n Bass, IDM, Breakcore, Noise and Industrial for over 15 years, cataloguing a respectable number of releases in each of the varying genre's, and continues to help shape the sound for the future.

Soundartist Denise Ritter aka Schachtanlage Gegnort has been doing her electroacoustic sound art since 1997, composing industrial noise music by recording sounds of the coal and steel industry and coal-mining. On 'aufgelassen' she creates a blend of darkness and mystery, creating pulsating sound worlds by using the recordings of industrial sounds of pounding machines, voice samples of steel workers, sounds of steel, stone and delay rooms. Most recordings were made deep under earth in mines or steel-mills. Those sound worlds have on one hand organic structures, on the other hand mechanical structures, in total 'aufgelassen<'offers quite various yet exciting, deep and almost mysterious atmospheres. Denise Ritter studied sound art in Saarbrücken and has performed throughout the last years many sound installations and sound sculptures all over Europe. In 2010 she won the Deutschen Klangkunstpreis. Her self-released albums 'Einsatzstoffe & Energie' (1997) and 'Erzengel' (1998) became milestones of post industrial music, and after her release '41 Jahre ' (2005) on HANDS, here is her second release on HANDS.

With 'Destinazione Magnetica' – nearly a decade ago with HANDS Catalog number HANDS D030, the Ancona based musician Maurizio Landini released an absolute unique and magical piece of electronica; probably many years too early. Here, finally, is the second album of Typhoid. 10 years later, Typhoid’s sound has developed further, perhaps less nervous yet still keeps the quality level that is an experimental merger of empathic chillout ambient soundscapes and IDM influenced eclectic beats. Intelligent and breaky beats, sharp as diamonds, fly through warm and crystal clear electronica sounds and chill-out atmospheres. Simulazione Di Divinità offers 11 IDM tracks at its best and includes an extended Version of Biscuits And Water and an outstanding remix of Isolationaut done by label mate Orphx.

The PCP Principle returns with his second album - a crushing blend of grinding beats and epic, cinematic arrangements unlike anything you will have heard ever before! Probably Symphonic Rhythm’n’Noise should be the style name for the sound of R. Challenger aka The PCP Principle on - 'Rhythmus Ex Heretica'. An astonishing and fresh mixture of absolute club orientated rhythm’n’noise beats and soundscore. Electronic sounds meet symphonic strings and powerful kicking electro industrial beats to create 11 club smashers, full of deep emotion. More aggressive and complex than the debut album 'Electronic Violence Phenomena', yet emotionally impacting and awe inspiring at the same time; the focus of the album being philosophy and the failings of human belief systems. This album is sure to tear up the dance floor as well get your emotions racing and your mind contemplating.

This is the new 2cd label compilation 2010 HANDS featuring again 30 new exclusive Tracks by 10 artists or over 145 minutes. You will get 3 new tracks of your favorite artists or can discover new artists by listening to 3 non-album tracks. In total a collection of progressive electronic beats from rhythm’n’noise and idm over experimental techno to dark drum’n’bass. Following artists are featured: Orphx , Geistform, S.k.e.t., Greyhound, Shorai, Maschinenkrieger Kr52 vs. Disraptor, Incite/, Syntech, 13th Monkey and 16pad Noise Terrorist.

Large combat shoulder bag made of olive green canvas with adjustable shoulder strap. 100% cotton. Black HANDS flock print. 3 inside pockets. Size about 34 x 24 x 12 cm or 13,4’’x 9,5’’x 4,7’’

Large combat shoulder bag made of black canvas with adjustable shoulder strap. 100% cotton. White HANDS flock print. 3 inside pockets. Size about 34 x 24 x 12 cm or 13,4’’x 9,5’’x 4,7’’

Heavy shoulder dj bag made of black flat surface truck tarp with adjustable shoulder strap. White HANDS logo print. Big storage space and additional inner pockets. Size about 37 x 29 x 13 cm or 14,6’’x 11,4’’x 5,1’’