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Massaroni Record (MSR) was born with the collaboration between the distributor Ermanno Massaroni and the disc jockey Roberto Onofri, who was also a radio and television presenter. "Let's Go Out" captures the essence of the very first Italo-Disco in its most genuine and melodic form where it's not easy to understand the vocal part but this gives to the song a certain ambiguity and a rare case in which the vocoder is fine. In addition to original, radio and the essential instrumental version there is a well structured and strong M.B. Roller Disco Edit by Massimo Berardi (former Harlem Hustlers) useful to give greater balance to the entire release.

BEHOLD! The inaugural long player from Wick Records - The Mystery Lights! In an era when the city kvetches that there are no good NYC bands, when half of the music scene has split for sunny California, the Mystery Lights are an anomaly. Not only did these bold young men reverse the direction - optimistically migrating east against the tide from the west coast, but they also immersed themselves in the action and diversity of New York City. Organically unfolding over the nights, months and years, the Lights' sound has evolved into a fuzz-fueled, hopped-up 21st Century take on '60s garage pebbles, and artful '70s punk, that is all their own.

If you've ever seen the Mystery Lights live, then you've experienced the otherworldly energy and conviction they exude on stage, compelling their rabid fans to emphatically entwine themselves into an electrified mob. This album is a testament to that. Recorded at The Daptone House Of Soul by (Grammy Award winning) engineer, Wayne Gordon - shortly after their debut single sold out - it marries the Lights' youthful, visceral energy with seasoned song-craft and musicianship far beyond their years.

The Mystery Lights are living proof that vital contemporary music, in this case real-deal rock 'n roll, can still be dreamed, constructed, and thankfully recorded in the Empire City.

Superb mental tribe EP !
Violent Cases production rules !!

Banging and Acid with a little Spiral state of mind on the A-side. Ths flip kicks harder like a next step for a Violent Case's weaponry.

"QUINZE" -"fifteen" in Catalan- is the title of the new release from Barcelona’s Lapsus Records. Lapsus celebrates its fifteenth anniversary with the launch of a new compilation comprised of today’s most compelling, experimental and ground-breaking electronic music. Fifteen unreleased songs from artists that best define the Lapsus sound: Attraktta, Chevel, Gábor Lázár, Gacha Bakradze, Johanna Knutsson, Karen Gwyer, Leif, Machine Woman, Patricia, Pye Corner Audio, RRUCCULLA, Steve Hauschildt, Telefon Tel Aviv, The Belgium and Ylia. "QUINZE" will be released in late February and two different versions will be available: A standard double LP edition; and a collector's edition LP packaged inside a bespoke cement case of which only fifteen units will be manufactured.

Yokohama-based producer Foodman - aka 食品まつり or Shokuhin Matsuri - continues his expansive sonic voyage with his new EP Dokutsu, out on 6th March 2020. It follows his 2019 release ODOODO, which was issued on Diplo’s Mad Decent label. Dokutsu is the first release on Highball, a brand new label exporting forward-thinking music from Japan.

Foodman emerged from Japan’s nascent footwork scene, using the genre as a springboard for an escapist exploration into a dazzling array of sounds. He’s since earned the respect of influential fans including Diplo, Benny Blanco, Cashmere Cat and HOMESHAKE, while Pitchfork, Noisey, FACT and Tiny Mix Tapes have included his releases in various ‘best of the year’ lists since 2016.

Opening track Kazunoko sets the tone for what will follow. Its woozy rhythm is evocative of the off-kilter playfulness that’s become a hallmark of Foodman’s uncategorizable artistry. It’s also a sign of his inventiveness that he constantly adds fresh layers to the track without losing sight of its light-hearted, spacious feel.

Another of Foodman’s unorthodox traits is his ability to meld the frenetic with the soothing. Hirake Tobira is a case in point. Its production is hypnotic, while its central motif - endless twists and variations on a vocal sample - is sufficiently insistent to demand attention. Kachikachi reverses the trick with a thrilling rush, stuttering otherwise unobtrusive sounds.

Elsewhere the EP plays on sonics which have echoes of the familiar while remaining alien: the boss fight soundtrack of Oshiro, the clattering percussion that dominates Imo Hori, and the ambient psychedelia of Konomi.

Based in Yokohama, an hour south of Tokyo, Foodman’s multifaceted skills also encompass DJing and painting. His press image, shown above, is a self-portrait. From the stripped-back sketches of his 2012 set Shokuhin (released on Giant Claw’s Orange Milk label) to the richer textures of ODOODO, Foodman has subverted everything from Okinawan folk to J-Pop to D&B/classical fusion into his own otherworldly inventions.

Repress

About 160 BPM 3-tracker... A side goes long, very long acid mental... B side has a first tune for pleasure, a realy great one with a solid ambiance and a great feeling... Last track is a good one too : solid and heavy like an Obscur record production.

Big mental hardtek killer... fat sound from deep inside...

Funk 45 champions The Mighty Mocambos deliver another colourful record in their favorite format. Both break-heavy psychedelic soul score theme Supertrada and battle proven b-boy jam Concrete Stardust are from the much celebrated album "2066". By popular demand, here they come in exclusive DJ-friendly uncut/extended versions. A hard-hitting double-sider set to be a resident in your 45 case.

It's with great pleasure that we announce the return of New York's synth wizard Steve Moore to KOMPAKT - pretty much exactly 10 years after his much lauded first appearance 'Bayern Kurve' on our SPEICHER series.

Steve Moore is widely recognized as one half of Italo Disco-tinged horror-prog project ZOMBI, his numerous thriller movie soundtrack works (The Guest, VFW, Mayhem, Bliss, The Mind's Eye) as well has his clubbier output on Ron Morelli's L.I.E.S. imprint.

The title track of this 4 track EP, "Frame Dragging" sees Moore in full spine tingling mode. In case you've ever stepped into a hot bath on a cold day (in case you haven't you should try it) you should be well familiar with the phenomenon of being incredibly cold and hot at once. That's exactly what 'Frame Digging' does to the dance floor. Goosebump massacre.

"Gamma Quadrant" combines emotive balearic elements with a rolling minimal house track that reminds us of early Playhouse glory. Or is it early Kompakt?

'Gravity Well' and 'Protostar' are both taking a more chilled out route. They perfectly bookend both sides of the record and showcase Moore's stunning ability of creating suspenseful, spaced out beauty.

Legendary genre-bending, multiple Grammy and Emmy-winning artist and producer 'Robert Glasper' releases his newest project "Fuck Yo Feelings". It's the result of a 2-day session in which Glasper invited musician friends to stop by the studio and organically create together, the final result being this mixtape which sonically documents the lost art of improv and on the spot collaborations that can only come from authentic relationships and true artistry.

Behold, we've got a new modular freak on board: Dhyan Moller. The Californian original of "Megadon" is here remixed by Heiko Laux for our 25th Anniversary. Followed by the massive production of "French Quiz" of Joel Mull & Heiko Laux. And to conclude our pack of productions which otherwise would have fallen into the cracks: Ray Kajioka & Heiko Laux show how happy mild cases of autism can turn out.

New year, new you, new crew! Another rising star from France, Marina Trench, joins the WOLF Music family, following up an inaugural EP on DJ Deep's highly acclaimed Deeply Rooted with this accomplished and diverse four tracker of house goodness.

Absorbed by house music from an early age Marina Trench is already proving herself to be a humble, yet highly talented, force to be reckoned with. Waterside EP is case in point. The title track is summertime ecstasy through and through. Undeniably catchy and packed with a club-ready punch, Trench sets off at pace, revolving the track around a pinging techy bassline as layers of percussion, echoing pads and delicate vocal refrains from Marina herself glide on through. Peak time, earworm business that bangs.

Get up, ‘Get In’. Moving through the downright ethereal to some tough, dancefloor darkness. Sweeping pads and glitching arps ease you in before the breakdown leads to an unleashing of brooding bass chords and reverberating top end counterparts that marry with a mean acid bassline. Tough, tactile and firmly focused on the club.

On the flip, ‘Train Call’ is a chopped jazzy deep house roller. Heavyweight piano stabs intertwine with deft twinkles as crisp hats dance around thumping kicks before ‘Straight’ eases you off into the depths of the night. A sumptuous little slice of deepness - meditative, trance-like calls from the ocean and pensive pianos provide a perfect soundtrack for the early hours.

Given Jones' rather slack approach to track titles (both being consistent with and sometimes even just supplying them), it's a bit of a relief to realize that two tracks with the same name are indeed related. In the case of "Arab Jerusalem", which makes up nearly half of the newly-released Lalique Gadaffi Handgrenade, that kinship is immediately apparent even though both tracks are clearly their own experiences. Released as the first track on the Minaret-Spearker picture disc 7" in 1996, "Arab Jeruzalem" (spelling also sometimes being fairly slack) is 5:42 of effectively shifting dark ambience, wordless female vocals drifting over the hand percussion, chimes, and static of the track, with eventual conversational loops discussing ... something underneath.

The end of that version is especially striking for the way the woman's wordless singing starts being sampled in such a way that it overlays the whole track (and, slightly, itself). The almost 24-minute "Arab Jerusalem" here might be called the Deer Hunter version of the same story, building with great patience and many more abstract detours towards what now seems like simultaneously an excerpt and, now, a climax.

As with many of Jones' more ambient tracks, the great length just lets it cast its spell more thoroughly and entrancingly. The other three tracks, meanwhile, suggest some of Jones' other work but never evoke them as directly as "Arab Jerusalem". "Jordan River" is nearly as long (a second shy of 20 minutes) but strips out the vocal elements in its predecessor, focusing instead on a more active percussive workout (analogue and digital both) and a river of hiss running down the center of the track. The title track of Lalique Gadaffi Handgrenade might bring to mind the title of "Lalique Gadaffi Jar" from Libya Tour Guide (last reissued by Staalplaat in 2015), but if they're sonically related Jones must have practically melted the other track to get this one.

And the closing "Desert Gulag" (like the title track, a much more manageable length than the first two epic tracks here) bears a slight resemblance to "Negev Gulag" from 1996's Fatah Guerrilla, here what was a piercing, repetitive drone is softened and looped over more of Jones' percussion. The result is a well-rounded release that shows off many aspects of Jones' sound as Muslimgauze, while existing (like many of these DAT tapes do) in conversation with much of his previously released work.

(M)or Mint was originally a digital release on a small and now defunct label. Being released under a different title its existence has been basically scrubbed from the internet. Caserta felt it was time to bring it back remixed and mastered as a physical release.

The Baby Maker Dub puts this mid 90’s soulful vocal front and center. With a sparse drum arrangement complimenting the smooth piano stylings of Yuki ‘U-Key’ Kanesaka, you have a make out inducing end of the night jam.

For those not ready to go home yet, Caserta added more drums, a lot of 909 and a whole lot more low end. Turning this smoothed out subdued affair into a certified dance floor stomper.

First EP by Flegon as a three piece band, Extra Twist takes you through different episodes of a mysterious investigation. Five fragments of an unsolved case that almost had the inspector lose his mind, after decades tracking down a fugitive woman he never quite got his hands on. Embark on a journey through time and space, full of shadowing, chase and unexpected encounters.

Lyrical King is the debut 1987 album from one of rap’s pioneers and innovators who was said by some to be the first artist recorded by Def Jam Records. T La Rock recorded this album for Sleeping Bag Records as the labels first rap act and show cased him at the
height of his career. An old school legend, MC and dancer who was sampled by Public Enemy and Nas, heavily influential on artists such as LL Cool J and the Def Jam sound and would walk out on stage with Run –D.M.C . Highlights include ‘Back to Burn’ and ‘This Beat Kicks’ where T La Rock teamed up with visionary producer Kurtis Mantronik.

Medicine used to be, we expected, good for us. Albeit with added sugar. Now medicine is a huge problem in itself, with vast companies caught mis-selling dangerous drugs. It’s one of the biggest scandals ever. How on earth did we get here? Who did this?

The Imbeciles are on the case.

“It’s about the dark side of prescription ‘medicines’. Oxy, Xanax, Ambien, all that. Big pharma is pushing these addictive ‘medicines’ that we don’t actually need, to desensitise / numb / kill. All for profit,” says Butch Dante.

A new classic from The Imbeciles. They know. And they made a video. Watch it here.

Now they’ve been remixed. By these people:

C.A.R.:
Impossible to categorise, and all the better for it - London based, Franco-Canadian, C.A.R., flirts with elements of new wave, cold wave, synth-pop, post punk and off-kilter disco; and without doubt wields some of the most satisfyingly other-worldly melodies and synth lines around.

Ryan James Ford:
One of the most exciting underground techno producers on the block - Ryan doesn’t constrain himself to any one rhythm, aesthetic and motif, but can always be found to be hitting the listener with thick atmosphere, dark melodies and an upfront, experimental attitude.

Legowelt:
A true pioneer of left field house and disco, this Dutch master draws from disco, italo, dub, dancehall, techno and many more sonic pools to create his wonderfully engaging, but always envelope pushing sound.

New Year, New Bobby. Caserta and trusty sidekick, Lucky Ry, get back in the saddle to present the sequel to the release that started it all, once again starting with a classic cut from the blue-eyed soul genius and turning it into a dance floor heater. Triumphant horns, warm bass, and thumping live drums come together to make up the 70’s mix, while LOUD DRUMS scream 80’s mix. Caserta and Co. once again provide two distinct mixes that are sure to set off any party.

iven Jones’ rather slack approach to track titles (both being consistent with and sometimes even just supplying them), it’s a bit of a relief to realize that two tracks with the same name are indeed related. In the case of “Arab Jerusalem”, which makes up nearly half of the newly-released Lalique Gadaffi Handgrenade, that kinship is immediately apparent even though both tracks are clearly their own experiences.

Released as the first track on the Minaret-Spearker picture disc 7” in 1996, “Arab Jeruzalem” (spelling also sometimes being fairly slack) is 5:42 of effectively shifting dark ambience, wordless female vocals drifting over the hand percussion, chimes, and static of the track, with eventual conversational loops discussing... something underneath. The end of that version is especially striking for the way the woman’s wordless singing starts being sampled in such a way that it overlays the whole track (and, slightly, itself). The almost 24-minute “Arab Jerusalem” here might be called the Deer Hunter version of the same story, building with great patience and many more abstract detours towards what now seems like simultaneously an excerpt and, now, a climax. As with many of Jones’ more ambient tracks, the great length just lets it cast its spell more thoroughly and entrancingly.

The other three tracks, meanwhile, suggest some of Jones’ other work but never evoke them as directly as “Arab Jerusalem”. “Jordan River” is nearly as long (a second shy of 20 minutes) but strips out the vocal elements in its predecessor, focusing instead on a more active percussive workout (analogue and digital both) and a river of hiss running down the center of the track. The title track of Lalique Gadaffi Handgrenade might bring to mind the title of “Lalique Gadaffi Jar” from Libya Tour Guide (last reissued by Staalplaat in 2015), but if they’re sonically related Jones must have practically melted the other track to get this one. And the closing “Desert Gulag” (like the title track, a much more manageable length than the first two epic tracks here) bears a slight resemblance to “Negev Gulag” from 1996’s Fatah Guerrilla, here what was a piercing, repetitive drone is softened and looped over more of Jones’ percussion. The result is a well-rounded release that shows off many aspects of Jones’ sound as Muslimgauze, while existing (like many of these DAT tapes do) in conversation with much of his previously released work.