Two interesting Afro/Acid cuts from newcomers MOTEL PHANTASMA land on Razor-N-Tape this September.
Razor-N-Tape has built its reputation on dancefloor dynamite that knows how to balance depth with pure body-moving energy. Their latest signing, MOTEL PHANTASMA, is a mysterious new project that instantly feels like it belongs to that legacy. The debut Claptrap EP is a double A-side 7” that makes an immediate statement, announcing Motel Phantasma’s sound as both uncompromisingly club-ready and steeped in musical character.
The title track “Claptrap” is all fire and friction. Designed for peak-time chaos, it comes armed with slippery, syncopated percussion that never sits still, razored synth lines that slice through the mix, and a hypnotic, in-your-face vocal incantation delivered in Portuguese. The effect is commanding, half ritual and half rave, building a tension that is impossible to ignore. It is the kind of track that DJs can drop to turn the room inside out, a weapon that feels destined for big systems and sweaty basements alike.
On the flip side, the duo shows another dimension. The Afro-boogie inspired cut, featuring Kaleta on vocals, brings a more organic sensibility to the record without losing any of its dancefloor punch. It is playful and buoyant, driven by a relentlessly catchy vocal hook that threads through a tightly wound groove. The production has an immediacy that feels live and human, while still being locked to the kind of rhythmic precision that makes DJs reach for it again and again.
As ever with Razor-N-Tape, the package matters too. The EP arrives in a full-color jacket that mirrors the vibrancy and punch of the music inside, a proper object to own as much as a track to drop. Between the darkly propulsive charge of “Claptrap” and the sunlit bounce of its counterpart, Motel Phantasma have arrived with a sound that feels both distinctive and versatile. This is not just a promising debut, it is a record that demands to be heard loud, late, and often.
Pre order the ‘Claptrap’ EP on Bandcamp here.
