Lucky Restock - Limited Quantities Please note: these are original copies that may show minor sleeve wear due to long-term storage. The vinyl is in excellent condition. Listen closely. That grinding, mechanical rhythm isn't a machine - it's a drum kit filtered through the imagination of a composer who's been asked to score "industry" and has decided to make it swing. This is library music at its most conceptually strange: music about work, about factories, about the texture of modern life, played by jazz musicians who refuse to be boring about it.

Kaleidoscopica arrived in 2000 as Plastic Records' deep cut into territory even the Stroboscopica trilogy hadn't fully explored. Where those compilations favored the psychedelic and the cinematic, this collection pulls from the functional edges of the Italian library world - music composed for industrial films, corporate presentations, educational programs. The source labels are more obscure, the composers less celebrated. And yet something remarkable happens when you gather these sixteen tracks together: they reveal a secret history of Italian funk hiding in plain sight.

Girolamo Ugolini dominates the collection with four tracks - "Soho," "Ritmoindustria," "Ritorsione," and "Constante Triste II° Versione" - each one a small masterpiece of grinding industrial groove. Ugolini remains one of Italian library music's most tantalizing mysteries. Collectors have long suspected the name is a pseudonym for Alessandro Alessandroni, citing the unmistakable guitar tone and even that distinctive whistle that surfaces on certain tracks. The evidence is circumstantial but compelling: Ugolini's work appears alongside Alessandroni's other aliases on releases by The Braen's Machine, and the compositional fingerprints are remarkably similar. Whether Ugolini is Alessandroni, a collaborator, or someone else entirely, the music speaks for itself - dense, rhythmic, obsessive.

Ugo Fusco contributes three pieces - "Notturno," "Sveltissimo," and "Tattau Bossa" - that demonstrate the range possible within the library format. Fusco's work appeared on labels like Arison and Beat Records, and his album Visioni Musicali has become a collector's grail. Here, he moves from nocturnal atmosphere to driving bossa, each track economical and precise.

Romano Rizzati (also known as Walter Rizzati, his preferred professional name) offers "Shake N° 5B" and "Vocal '700." Rizzati would later achieve cult status for his horror scores - House by the Cemetery, 1990: The Bronx Warriors - but this earlier library work reveals the foundations of his electronic experiments. His collaboration with Silvano Chimenti in I Gres connected him to the heart of the Italian library scene.

The supporting cast reads like a roll call of studio ghosts: Turicoli with the percussive workout "Battereologistica." Carmelo Giacchino's "Industrialey." Sergio Montori and Giampaolo Chiti on the appropriately titled "Ribollente" (boiling). Francesco Tamponi's "Presse." Mario Molino's "Lamento Beat I Versione" - proof that even industrial music could have soul. Luigia Sordini's "Parco Dei Principi" and Giuseppe Cannizzo's "Sax Twin" offer moments of relative calm before the grooves resume.

The subtitle promises "Obsessive Psychedelic Funk-Beat," and that's exactly what's delivered. These composers understood that functional music didn't have to be forgettable. Asked to provide sonic wallpaper for corporate Italy, they instead created something that outlasted every product it was meant to sell.