Pressure Loss. Nicola Ratti. Where To Now?

Posted in 2016, distribution, Vinyl on April 1st, 2016
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Artist / Title : Nicola Ratti ‘Pressure Loss’
Format : LP + Download Card.
Cat : WTNLP04

A1. W9
A2. W12
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A4. W11

B1. W6
B2. W5
B3. Decrease
B4. W4


Mixed by Nicola Ratti, additional mix and mastering by Giuseppe Ielasi.

Sleeve Photograph by Allegra Martin.
Design by Studio of the immaculate heart.

LP + Download card. limited to 500 copies.


Nicola Ratti holds a rich history in the world of experimental and minimalist composition, having released music under his own name on labels such as Kning Disk, Anticipate, Preservation, Holidays, and Senufo Editions and in recent times concentrating his energy into his collaborative project ‘Bellows’, work which has seen the light thanks to Entr’acte Records and most recently Boomkat Editions. His latest solo work ‘Pressure Loss’ finds Ratti at a potential turning point in his musical career, exploring rhythm and tonality with a new vigour, in a way which embraces the fluid and consistently evolving modern world of electronic music, yet still references a history of electronics, limiting his sound palette to work only using the Serge and ARP Modular Synthesizer.

Bass, rhythm and melody, those basic ingredients of musical composition, are always present throughout the 8 compositions Ratti presents here, although it is almost like this balance was only briefly explained to someone who had never heard a conventional music piece before and was then left alone to improvise with the recipe with deep curiosity. A devastating pulse runs throughout, acting as a basin for a world of strange syncopated rhythms caught amid sonar blips, ghostly serrated hi-hats and dripping stalactites. The fluttering melodies that creep around the compositions’ edges sound like a tentative and childlike version of grime’s simple but visceral paranoid hooks. Bass, rhythm and melody, those basic ingredients of musical composition, are always present throughout the 8 compositions Ratti presents here, although it is almost like this balance was only briefly explained to someone who had never heard a conventional music piece before and was then left alone to improvise with the recipe with deep curiosity. A devastating pulse runs throughout, acting as a basin for a world of strange syncopated rhythms caught amid sonar blips, ghostly serrated hi-hats and dripping stalactites. The fluttering melodies that creep around the compositions’ edges sound like a tentative and childlike version of grime’s simple but visceral paranoid hooks.

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Highway Magazine Issue 2. Vicente Gutierrez (ed.)

Posted in distribution, magazines, music on March 4th, 2016
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Highway Issue 2
Summer – Fall 2015

Contents by and with:

In brief:

• Sound artist Israel Martínez discusses his work amid Mexico’s War on Drugs. A profound interview on the power of sound art.

• Mark Fisher. An interview with the radical music writer and acclaimed author of Capitalist Realism and Ghosts of My Life on music and culture today, Popular Modernism, time wars, music culture and Neoliberalism and the borrowed phrase, “the slow cancellation of the future.” Editor’s pick.

• Dadabots. A presentation of open-source algorithms which search, remix and post music throughout the Soundcloud community as told through a correspondence with the musician-hackers.

• Editorial on Spectatorship (Part 1). Read exclusive opinion, stories and revelations on what it means to be a spectator today [and yesterday] from Katie Alice Greer (Priests), Dan Deacon, Mark Andersen (Positive Force DC), Kim Gordon (Essay reproduction) and Ian MacKaye (Q & A format).

• The Photography of Sebastian Mayer. A select presentation from the accomplished German photographer.

• An Anthology of Recording Music, Volume 1. A new on-going section presents a wide variety of artists relating the situational boundaries of composing one song before presenting it to the band or entering the recording studio. Read personal accounts from C Spencer Yeh, James Hoff, Julia McFarlane (Twerps), Jane Penny (TOPS), Sadie Dupuis (Speedy Ortiz), Ben Chasny (Six Organs of Admittance), Benoît Pioulard, Greg Saunier (Deerhoof) and more.

• Decoder. An original essay by Dan Barrow to reread and reactivate this Burroughs-inspired and nearly-forgotten punk & new wave film for 2015 and beyond.

• Visual Essay: Hundebiss. An invitational spread to the Italian imprint. Exclusive to the print edition.

In more detail:

Our second issue begins with a profound and inspiring conversation with Israel Martínez, a remarkable sound artist whose work is recorded amid Mexico’s on-going Narcowars. Since 2010, the Mexican sound artist has been reflecting, recording, documenting and exhibiting the symbolic, personal, financial, legal, civic and human costs of Mexico’s War on Drugs. Martinez’ sound and installation work has been exhibited around the world and select works are in two of Latin America’s most notable art collections. This is Martínez first substantial interview in English and includes material printed for the first time. Samples of sound work by Martínez accompany the conversation in our App edition and will be posted online soon.

In the editor’s letter of our first issue, the words “seemingly cancelled times” were used to gesture towards an interview which has been on our mind for some time. We present a straight-forward, long-form, radical interview with the music writer, culture theorist and teacher, Mark Fisher. Fisher has garnered praise for Capitalist Realism and Ghosts of My Life as one can read in an accolade from 2014: “After the brilliance of Capitalist Realism, Ghosts Of My Life confirms Mark Fisher’s role as our greatest and most trusted navigator of these times out of joint, through all their frissons and ruptures, among all their apparitions and spectres, past, present and future. — David Peace, author of the Red Riding Quartet and Red or Dead.” The interview discusses music and mainstream culture, Popular Modernism, post-punk, “lost futures,” the intersections of music and politics and the borrowed phrase, “the slow cancellation of the future.” Fisher elaborates on select excerpts from his [radical] writing in addition to his personal life and career as a writer in this “life with music.”

As algorithms increasingly play a role in our life with music, this issue profiles the on-going and open-source Dadabots project initiated by two computer programmers and musicians. An exclusive to the magazine, the interview presents a portrait of these non-human bot “musicians” which explore and present the intriguing possibilities of generative music and autonomy across social media platforms.

Our second commissioned editorial presents revelations on spectatorship in live music through our own original route, by exploring a supposed space between how we look at artists on stage and how they look back at us. Read exclusive and original stories and opinions from Katie Alice Greer (“We’re very strategic in how we operate and create”), Dan Deacon (“The internet is not the problem. Mid-size venues are disappearing”), Mark Andersen (That’s the revolution in punk, if there is one”) and Ian MacKaye (“That’s the point for the record company, but it shouldn’t be the point for the band”) with the exception of a contribution from Kim Gordon, a reproduction of “I’m really scared when I kill in my dreams” (1983) and this issue’s object of interest. As a conversation starter, habituated and transcendent acts and moments of performance and watching are shared and discussed over 60 immersive pages. Anonymous and previously unpublished photography from the Fugazi Live Series Archive accompanies the text.

The next 20 pages are dedicated to the photography of accomplished German photographer Sebastian Mayer, who has photographed several music magazine covers over a decade. A friend of the magazine, Mayer shares encounters with the likes of Iggy Pop, EYE Yamataka, Pansonic, Matthew Herbert, Carsten Nicolai, Ryuichi Sakamoto and more from some of Berlin’s heyday.

Our new on-going section, An Anthology of Recording Music, Volume 1, presents first hand accounts of artists’ headspace before entering a studio to record a song. This free-form collection listens for boundaries of writing and recording one particular song. A wide variety of scenarios of cultural production are revealed as the following notable artists discuss one song: C Spencer Yeh, James Hoff, Julia McFarlane (Twerps), Jane Penny (TOPS), Sadie Dupuis (Speedy Ortiz), Ben Chasny (Six Organs of Admittance), Benoît Pioulard, Greg Saunier (Deerhoof) and more.

To close, a commissioned essay by writer, poet and critic Dan Barrow on an almost-forgotten punk & new wave film, Decoder (released in West Germany in 1984). Barrow’s essay profoundly reads and contextualizes the film, reactivating it for 2015 and beyond. The essay is accompanied by rare photography from the film’s production. The last pages of Issue 2 present another new on-going section for HIGHWAY: an invitational visual essay in which over 10 pages of editorial space are given over to the Italian imprint, Hundebiss to present [a distilled] visual manifestation of the label’s vision. The visual essay is exclusive to the print edition so get a print copy in our store.



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Patricia. Bem Inventory. Opal Tapes

Posted in distribution, music, Vinyl on February 5th, 2016
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Patricia returns to Opal Tapes and carries on his excursions into dusty analog techno with this six tracker featuring a collaboration with Vancouver-based Cloudface


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Gaillard&Claude. Monkey Puzzle, Le désespoir du singe. MOREpublishers

Posted in Motto Disco, music, Vinyl on September 17th, 2015
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7’’ single, 3’12’’, 45 rpm
numbered edition of 300 copies

collector’s edition :
digital print on Maco Mat, 150 gr., 118,8 x 168 cm.
after Untitled, Gaillard&Claude 2015 plaster and speaker stand
transparent plastic sleeve attached to the print
calligraphy by Caroline Mandale
signed and numbered edition of 12 (+3 A.P.)

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Ecology Tapes Vol. Two: Koenraad Ecker & The Pitch. Ecology Tapes.

Posted in music, Tapes on September 5th, 2015
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Side A: Koenraad Ecker / Side B: The Pitch

C60 Cassette
Edition of 200


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Face A/B. Beatrice Dillon. Where To Now?

Posted in Vinyl on August 25th, 2015
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Where To Now? records are proud to present Beatrice Dillon’s follow up release to the widely well received ‘Blues Dances’. This three track 12” sees Beatrice step things up a gear in terms of intricacy, experimenting wildly to add to her already astute palette of timbre and rhythm.

‘Face A’ leads the record with the unmistakable skronk of saxophone cutting and jamming over the skeletal pulse of Beatrice’s signature dubbed out techno landscape. Initially the inclusion of saxophone acts as an aural abstraction or diversion to extract a little freedom from the pumping cavern of dark dub techno atmosphere punctuated with the mechanical juddering saw-bass, but as the piece develops and we become deep into the groove the inclusion of wild sax snorts trips us up and become the focus itself as new levels of complex melodic and rhythmic detail become apparent within this otherwise structurally obedient space. Taking it’s cues from Rabih Beaini, Miles Davis ‘Big Fun’ era, Dresvn and Keith Hudson, undoubtably ‘Face A’ is a compelling, complex trip… heads down but arms flailing.

‘Face B’ continues the theme but takes the listener far deeper into the cavern. Here the concern is more the effects of space within song, a moment where Beatrice allows herself to move away from the floor to find a little more room for playful experimentation. The saxophone is further treated with a plethora of effects to compliment the array of dub signals that scatter and skip around the basin.

The record closes with ‘Sonnier (Walk in the light)’ which strangely somehow manages to feel jazzier in its components, even in comparison to a pair of tracks riffing on a manipulated free-jazz sax part. It sounds strangely unsure of its world, adding to this whole loosely slung, loping feel which somehow fits amongst the stern, brooding, and efficient synth play. Beatrice masterfully manages to create a piece here that grows in intensity without ever increasing in pace or texture, every drop is intended to stir the listener a little more than the last. There’s a sense throughout all the pieces of having rhythm imposed or even inflicted upon the listener but this is certainly not a conflict of ideas… there is optimism, harmony and above all – wild groove nestled within Beatrice’s world of mutant shuffle.
releases 21 August 2015

Written and produced by Beatrice Dillon, tenor saxophone on ‘Face A/B’ by Verity Susman.
Mastered by Rupert Clervaux at Grays Inn Road.
Sleeve drawing Sam Porritt, ‘We’re tripping myself up’, 2012, ink on paper, courtesy of the artist.


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Where To Now? In-store presentation @ Motto Berlin. 14.08.15

Posted in events, music on August 12th, 2015
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Where To Now? In-store presentation @ Motto Berlin. 14.08.15

Where To Now? label heads Matt Hendon and James Hines and Berlin based electronic artists, Moon Wheel, Jesse Osborne-Lanthier, and N.M.O join us in-store to play some records and celebrate the release of their respective releases on the label. WTN? alumni FDG – and KETEV, who are both preparing albums for the label will also be of attendance.

Where To Now? Stock available in store!

Jesse Osborne-Lanthier is a conceptual electronic musician, sound/visual artist aiming to make material which engenders different cognitive responses than those engendered by established music, but which is all the while accessible through the modification of recognisable tools used in that very music. However, Jesse is not just an artist. He’s a refreshing phenomenon in the music world who constantly keeps surprising us with his dynamic, multifaceted productions and collaborations.”
—Sounds of a Tired City.

Moon Wheel’s cerebral, shape-shifting compositions are inspired by “nature, history, and wandering”, synthesizing electronic and organic sounds through dubby groove deconstructions, uncanny ghost-in-the-machine moods, and grey psychedelic hazes.”

“N.M.O. are an exceptional, pan-European duo deploying SuperCollider software and stripped-down, roiling drums under the mantra, As Strict As Possible….they’ve coined a visceral, effectively unprecedented sound that’s hard to ignore. Like their radical, aerobic take on live performance (if u get a chance, go see ’em!) these trax are a playful snub to convention, primed for adventurous DJs and dancers alike.”

6pm – 9pm

Motto Berlin
Skalitzer Str. 68
im Hinterhof
Berlin 10997

Refreshments will be served!

CRU #1 (+ CD + DVD)

Posted in art, magazines, music, performance on August 1st, 2015
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CRU (Contemporary Radical Underground), is the annual magazine that documents what’s happening at La Plaque Tournante, a non commercial artist space in Berlin and run by French composer Frédéric Acquaviva and English mezzo-soprano Loré Lixenberg.

This first issue of Frédéric Acquaviva and La Plaque Tournante’s audio / video hybrid magazine, includes a CD with music by Frédéric Acquaviva and Phill Niblock, a DVD with performances by Tomomi Adachi, Bernard Heidsieck, Katherine Liberovskaya, Jacques Lizène, Alvin Lucier, and Alex Mincek. Packaged in 12“ sleeve with postcards, posters, and various documents.

CD with Phill Niblock ‘V & LSGH’ (2015) performed by Loré Lixenberg (voice) and Guy de Bièvre (lapsteel guitar). Frédéric Acquaviva‘Loré Ipsum’ performed by Loré Lixenberg (voices) and Frédéric Acquaviva (dead electronics), Berlin version.  

DVD with Tomomi Adachi, Loré Lixenberg, Alex Mincek, Jacques Lizène, ‘Silver streetcar for Orchestra’ from Alvin Lucier, ‘Vaduz’ from Bernard Heidsieck, a film from Katherine Liberovkaya with a music from Phil Niblock.

Paper cover in plastic sleeve, 33 x 33 cm., containing:

2 folded posters, 60 x 80 cm. each
2 folded posters, 42 x 59 cm each.
2 postcards, 10,5 x 14,5 cm. each
1 loose printed sheet, 452 x 29,5 cm.
2 press realese, 4 mimeographed pages each, 29,5 x 21 cm.

Published by Editions Acquaviva.


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Zweikommasieben Magazin #11. Präsens Editionen / Motto Books.

Posted in distribution, magazines, Motto Books, music on June 22nd, 2015

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The new issues features The Sprawl (aka Mumdance, Shapednoise and Logos), Beatrice Dillon, Hieroglyphic Being, Kuedo und Joe Shakespeare, Hallow Ground, TCF, Norbert Möslang, Dalglish, Tasty Morsels, Moon Wheel, Danse Noire, Seekae, RVDS as well as Oneohtrix Point Never.


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mono.kultur #39 Terre Thaemlitz: The Arrogance of Optimism

Posted in distribution, magazines, music on May 19th, 2015
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‘In relation to these larger dynamics, the music is pretty irrelevant,’ says Thaemlitz during our interview, ‘these larger dynamics’ referring to the political undertones of nightlife, as safe spaces for social interaction in general and gender and sexual variance in particular.

Interview by Melissa Canbaz


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