Review: Tel Aviv's Moscoman returns to the always reliable ESP Institute for more of his infectious oddball grooves which continually defy categorisation. Much like fellow homeboys Red Axes and Autarkic, his sound sits somewhere between disco, house, synth pop, punk-funk and even balearic; and indeed that's the spectrum of sounds explored on his new album titled A Shot In The Light. There's some lo-slung, latin infused disco deepness on the "Mexican Cola Bottle Baby", trippy cosmo/psychedelic shenanigans on the hilariously titled "Losing My Wedge", the moody and entrancing journey that is the title track (which pushes the same territory as Barnt or Marvin & Guy) and there's even some darkwave electro: like on the epic closer "Death At The Funreal".
Review: Israeli disco eccentric Moscoman makes a surprising appearance on DJ Tennis' Life & Death label, but considering recent appearances for the likes of Diynamic, Sapiens and Armada - it's clear his appeal has broadened to the wider electronic music scene. The Disco Halal boss serves up the spiralling and melodic bliss of "Wave Rave" - an evocative dancefloor journey that is right in line with DJ Tennis' aesthetic. This is in stark contrast to the moody (doom-laden, even!) growl of "Dinner For One" and once again showing the diversity of his sonic repertoire we have the lo-slung balearica of "550" and ending with the delightfully tripped-out nu disco groove of "Space Comfort".
Review: Having received plenty of praise for his 2016 debut album, A Shot In The Light, Moscoman is naturally feeling on top of the world. Judah's Lion is the first release on his brand new label, Treisar, and is odd, eccentric and essential. "Dalmar Arbon in the Club" is particularly potent, with the Berlin-based producer layering organic percussion, acid-influenced electronics, trippy chords and odd vocal samples on top of a sturdy, kick-drum dominated groove. Then, you'll find the original version of "Dalmar Arbon" - think sparser, looser electronic beats, trippy accordion lines and backwards guitars - and the jaunty, jammed-out proto-house shuffle of "A Saint & A Sinner".
Review: Indie-disco-house hero Moscoman is back with Snake & Pygmy; the second release for his new Treisar imprint. Given the trend for melodramatic journey tracks as popularized by labels like Life & Death, the man from Tel Aviv delivers an interesting (piss) take on the sound with his rather dark dancefloor drama of "Snake In A Hat" although it could just be a strange coincidence. It's more like the oddball producer we know on the woozy and cosmic slow burner "Pirate Of The Lost Ark" up next; full of trippy arpeggios, woozy synth leads and what sound like some live drums: nice touch. Finally "Forget The Rest" goes for some nice Middle Eastern disco vibes that merge with house beats and ample use of the cowbell; never such a bad thing.
Review: Last spotted on his own Disco Halal imprint reworking the dickens out TCP, Moscoman returns with another spellbinding technoid work of mystery in the form of "I Ran". An enchanting call to attention with a beguiling prayer song, Arabic strings and a mystic, spine-shuddering atmosphere, it's complemented with an equally alluring remix by the Lipsky brothers Simple Symmetry project. Maintaining the evocative shades of the original but with more of a cosmic sense of spirituality (and a hip-slinking drumset to boot) it's the perfect remix companion. Run for fun.
Review: Red Axes affiliate Moscoman impressed with his first outing on I'm A Cliche, 2013's self-titled debut EP. It set out his stall as a producer to watch: a creator of humid, exotic electronic music dripping with vintage new wave, EBM and Italo-disco influences. This follow-up continues in a similar vein. There's a notably murky feel to the bubbling but strangely foreboding "Dark Horse" and weirdly sensual "Rerotica", but it's the more live-sounding "Ego Trippin" - all Hammer horror organs, punk-funk bass, backwards vocal samples and Turkish melodies - that hits home hardest. Optimo Music's The Twins provides a magical remix, layering their ghostly vocals over a hypnotic bed of drum machine hits and woozy synthesizer riffs.
Review: Following a couple of impressive outings on Cosmo Vitelli's I'm A Cliche imprint, well-regarded Israeli producer Moscoman makes his ESP Institute debut. The Tel Aviv native is in fine form, too, delivering a pair of tracks that blend trippy, psychedelic electronics with clear cosmic disco and no wave influences. Opener "Akachi" is arguably the bigger of the two, with swirling effects, tribal chants and bongo-laden percussion peppering a long-slung disco-not-disco groove. "Nobody Else" has a more trippy and trancey feel, with looped, slowly building guitar and synthesizer parts - all drenched in special effects - rising above a hypnotic, drum machine-led groove.
Review: Making a surprising yet welcome addition to Hanseatic powerhouse Diynamic here is the inimitable Moscoman. The Israeli DJ/producer has taken the world by storm in the last few years, with his trademark style of lo-slung punk funk and indie-dance grooves as heard across imprints as diverse as ESP Institute, Multi Culti and I'm A Cliche. For the newly founded Picture series, the Disco Halal boss provides a document in time: showcasing the artist's current creative output. It is not an album format per se, but far more than merely an EP. From the emotive opener "Song For Bourdain", the slinky and melodic tech-house of "Shamaniac" (which is right in harmony with the label's aesthetic) or the tunnelling and tripped-out psychedelia of "Under Your Wing" which is classic Moscoman.
Review: Given the quality of their respective releases, you'd expect this first collaboration between Moscoman and Red Axes to be rather good. Predictably, it is, with both tracks offering the perfect balance between weary late night atmospherics and intoxicating dancefloor shuffle. Opener "Dikembe Manatu" builds the action around a foreboding bassline and dense African percussion, with metallic melodies and druggy electronics expertly layered atop. Virtual flipside "Rage In The Cage" takes a different approach, with sleazy, late night electronics and throbbing analogue refrains contrasting neatly with the trio's unfussy, cowbell-laden percussion. Both tracks sound primed for dimly lit basement spaces and intimate parties the World over.
Review: By now, we should all know what to expect from Toolroom's "Poolside Ibiza" compilation strand, namely groovy nu-disco, house and laidback Balearic beats inspired by afternoons spent lounging by the water in stonking White Isle heat. Naturally, there are plenty of gems to be found amongst the 40 unmixed tunes selected by chosen DJs Moullinex and Xinobi, from their own collaborative post-punk/dub number "X Marks The Spot", to the slick '80s synth-pop dreaminess of Tensnake's fine remix of Xinobi's "Far Away Place" and the drowsy, Morricone-influenced soundscape weirdness of Simple Symmetry's remix of Moscoman's "I Ran". Throw in some seriously good cuts from Felipe Gordon, Donald Dust, Pin Up Club and Meera (whose carnival-ready boogie jam "Fine Without You" stands out), and you have a fine collection of summery cuts.
Review: If you're looking for anything termed under the umbrella of 'Balearic', then Canada's Multi Culti will deliver in fine style, and save you all the hassle of digging for lost B-sides from the 1980s and 1990s. It's a call to the Sun Gods this time with Sun Gaze II, a sublime collaborative EP from a bunch of new and exciting talent. Nicola Cruz opens the doors to heaven with the tribal-minded chugger that is "Pagano", followed by Moscoman's more house-leaning jingle on "Se Acabo". "Boom Boom Boom" by Sanga features Sheikh Djibouti on the vocals, offering a hazy wave of Hispanic rhyming, while "Shkarim Ba Afela" by 84PC is a tune that you could truly imagine being in a Cafe Del Mar mix by the likes of Jose Padilla - softly-spoken but nonetheless effective and sensual on the hips.
Review: James 'Fucking' Friedman reckons that in the three years since Moon Rock Volume 1 came out on his New York City based Throne Of Blood imprint, interest and attention in ambient and cosmic music has broadened and deepened. Well, hey that's a fair call and with Moon Rock Volume 4, the label is once again rounding up a shitload of weird-ass kosmische sounds. According to the label, the compilation was conceived in sides; six distinct sets of music that move through a range of styles and sounds, from chill ambient excursions to darker droning noise. Danny Passarella's imaginary soundtrack "Carousel Rising"is guided by a clever use of arpeggio, Tel Aviv indie dance hero Moscoman impresses as always with more cosmic weirdness on The Edge Of The Earth" while Versatile Records legend Gilb'r presents "Arpeggio Island"which doesn't need much explanation. London duo Vactrol Park impress as always with another deep vintage synth exploration on "Islands Of The Delta".
Review: Since launching a couple of years back, Moscoman's previously vinyl-only Disco Halal imprint has led the way in fusing the sounds of the Middle East with contemporary electronic music culture. For proof, check Halal Collection, the label's first digital release. It offers an 11-track trawl through the best of the label's output to date, with a previously unreleased Red Axes remix of Autarkic's "How To Cheat" - think bubbling drum machine beats and lilting, cascading synthesizer melodies - thrown in. Highlights include a chunk of spooky, Arabic house hypnotism from Naduve, the skewed late night funk of TCP's "Twonga", the intoxicating, anthem-like throb of Simple Symmetry's "Voodoo Your Ex" and the thrillingly percussive disco-funk/acid house fusion of Red Axes, Moscoman and Krikor's "Subaru Pesha".
Review: Eskimo Recordings' colour-themed compilation series has thus far delivered enjoyable material in spades, with the first three albums providing a mix of sun-kissed nu-disco, woozy nu-Balearica, Italo-tinged chuggers, sumptuous syntyh-pop and atmospheric deep house. The Orange Collection, the fourth volume in the series, continues in this vein. Packed with colourful synths, tactile rhythms and vibrant vocals, highlights include the chiming nu-Balearic pop of This Soft Machine, the cheery Italo revivalism of Tarjei Nygard and Are Foss's "Flog", and the quirky Scandolearic deep house wooziness of Trulz & Robin's collaboration with fellow Norwegian Ost, "Find My Love".
Review: Headman's Relish label have been turning out the angular, leftfield disco-not-disco grooves for nearly 20 years now. So it's no surprise that such are in abundance on this 10-track compilation; what's more surprising is that two decades in, far from the label's quality standards slipping they actually seem, if anything, to be getting better at it! Fans of the likes of ESG, A Certain Ratio, Liquid Liquid, Fischerspooner or Cabaret Voltaire will find much to enjoy here, with Moscoman's dub-inflected 'Wet Shoes Everywhere', Bozzwell's Talking Heads-ish 'I'm Emotive' and Retriever's hypnotic, gothic-tinged 'Murder (NUN Remix)' among the highlights.
Review: German producer Basti Grub hails from Frankfurt and runs the Hohenreglar imprint, in addition to appearances for Exploited, Desolat and Mobilee. He has also produced German legend Timo Maas in recent times, so if that doesn't prove that his star is on the rise - then what more proof do you need! Here he presents the 82nd edition in Wuppertal based Faze Mag's legendary mix series featuring top tracks such as Frankey & Sandrino's "Wega", George Morel's "Yesterday Made Today" (Basti Grub Remix) [Feat. Lady Jxne] and Moscoman's "Song for Bourdain". Not to mention several exclusives by the man himself in one continuous hi-octane mix that will knock your socks of!