18 Floors (white vinyl), Magda Drozd. Praesens Editionen.

Posted in music, Vinyl on July 20th, 2021
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In her artistic practice, Magda Drozd is deeply concerned with listening. The artist and musician not only investigates the ways her audience listens but also continually hones her own auditory sensibility. For her second album, 18 Floors, Drozd trained the latter on the Lochergut, an iconic residential estate in Zurich’s Kreis 4, which she called home for several years. Over the past two years, she compiled a corpus of field recordings in and of the apartment building, which became the basis for an examination of how sound produces knowledge. The result challenges current assumptions about buildings, urban living, and the ecologies of cohabitation. In the context of her project, Drozd conceives of the building as a living organism rather than a collection of static material. The field recordings served as raw material for the compositions, which were woven into eleven speculative tracks consisting of analogue and digital sounds, including violins, guitars, synthesizers, drum machines, and Drozd’s voice. The music moves between sound art, ambient, and experimental electronics, occasionally showing flashes of pop, indie rock, and R&B.

Drozd’s album, released one and a half years after the COVID-19 outbreak, could not be timelier—even though the conception of 18 Floors predates the global pandemic. The album’s actuality derives from Drozd’s sense of the importance of the home, which has become glaringly obvious in the age of Corona. She concentrated on what was close by when attention was habitually lavished on far-away places. In this process, she examined the constitution and potential of her home, and her preference for documenting what might be over what actually is defines her avant-garde attitude. The result is an album that creates a space for what is transient, uncertain, and unstable. And it creates a space for opportunities, which we need now more than ever.—

18 Floors is Drozd’s second album. Her debut, Songs for Plants, was released on vinyl and digitally by Präsens Editionen in 2019. Her follow-up enters the label catalogue among releases by Samuel Reinhard, Belia Winnewisser, Martina Lussi, and Leo Hoffmann.

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Terraforma Journal – Issue #1

Posted in art, magazines, music, writing on July 17th, 2021
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The Terraforma Journal is a new editorial project by Terraforma. A biannual publication exploring the intersection of sound, art, ecology and culture at large. Issue #1 focuses on the expanded notion of the festival—intended as a collective, multi-lateral, interconnected manifestation of dynamicity. The theme unfolds through a multiplicity of layers to acquire new and unexpected definitions. Terre Thaemlitz, Fabio Sargentini, Shiraz Arts Festival, Beuys 2021, Alice Bucknell, Angela Rui, 2050.plus — among many others — explore this angle and translate their vision into the printed matter. Every issue of the Terraforma Journal features a specially commissioned cover, starting with a labyrinthine interpretation of Daniel Sansavini and Studio Temp.

Terraforma Journal is an expansion towards a renovated feeling of togetherness and exchange.

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Mixtape (cassette + booklets), Dominique Hurth

Posted in art, music, poetry, Tapes on June 26th, 2021
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Entitled “Mixtape”, this catalogue brings together works by Dominique Hurth from 2008 to 2020. It comprises one text booklet with contributions by Daniela Cascella, Sonja Lau and the artist herself; one image booklet with 136 images from installation shots of Hurth’s work and one audio-tape (45-min each side) with recordings, music and sound material inherent to the research behind the works. The chosen format reflects on her interest in object-biography, technology and its history.

“We listened to historical recordings and futurist sounds, to tracks taking in everything from minimal wave and Detroit techno to hip-hop and chansons. We listened to the voices of the first speaking dolls that sounded like little monsters, to the voices of Sarah Bernhardt and Serge Gainsbourg as he burned a 500 Franc note on French TV. To Clarice Lispector as she lit a cigarette while being asked why she continued to write. We listened to music created in laboratories, music that was sent into outer space. We listened to lyrics and then languages and voices w couldn’t understand. Machine-generated sounds. Sounds created on celluloid. James Joyce reciting four pages of Finnegans Wake to Charles Ogden in the late 1920s. We listened to advertisements for vocoders and to music with vocoders as the primary transmitter of voice and the main musical instrument. We listened to France Gall singing — or rather, screaming — into the microphone at the Eurovisio Song Contest at the age of nineteen about being a doll made of wax and a doll made of sound. To a litany of okays sung by The Destroyer in a song by the Residents. To the breathing of Pauline Oliveros’s accordion. To the Holy Ghost in the Machine. To Minnie Riperton’s voice in the background, to atonal music, and to computer-generated hand claps. Electronic communication with the dead.
Jazz.
A countdown to zero. We listened to beats.

The several hours of sound that we listened to eventually became two side of forty-five minutes each — Side A and Side B. Condensed and edited in this way, this mixtape actually conceals and contains several other mixtapes, recalling all the other tracks that burst out of the edges of the magnetic band.” (”Mixtape(s)”, D. Hurth, 2020)

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Inflamed Invisible – Collected Writings on Art and Sound, 1976–2018, David Toop

Posted in art, books, music, Theory, writing on June 15th, 2021
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A rich collection of essays tracing the relationship between art and sound.

In the 1970s David Toop became preoccupied with the possibility that music was no longer bounded by formalities of audience: the clapping, the booing, the short attention span, the demand for instant gratification. Considering sound and listening as foundational practices in themselves leads music into a thrilling new territory: stretched time, wilderness, video monitors, singing sculptures, weather, meditations, vibration and the interior resonance of objects, interspecies communications, instructional texts, silent actions, and performance art.

Toop sought to document the originality and unfamiliarity of this work from his perspective as a practitioner and writer. The challenge was to do so without being drawn back into the domain of music while still acknowledging the vitality and hybridity of twentieth-century musics as they moved toward art galleries, museums, and site-specificity. Toop focused on practitioners, whose stories are as compelling as the theoretical and abstract implications of their works.

Inflamed Invisible collects more than four decades of David Toop’s essays, reviews, interviews, and experimental texts, drawing us into the company of artists and their concerns, not forgetting the quieter, unsung voices. The volume is an offering, an exploration of strata of sound that are the crossing points of sensory, intellectual, and philosophical preoccupations, layers through which objects, thoughts and air itself come alive as the inflamed invisible.

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arbitrary latest arrivals in Motto Berlin

Posted in Motto Berlin store, music, Vinyl, vinyl on April 24th, 2021
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PM016 (2020 Remaster) (LP), Mads Emil Nielsen
Framework 3 (10” vinyl + CD), Mads Emil Nielsen + Katja Gretzinger + Nicola Ratti
Framework 2 (2 x 10” vinyl), Mads Emil Nielsen + V.A. / Andrea Neumann, Jan Jelinek, Hideki Umezawa

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Discwoman @ Motto Berlin – 15.08.2018

Posted in Motto Berlin event, music on August 8th, 2018
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Discwoman merchandise pop-up @ Motto Berlin

15th of August 2018 from 2pm to 8pm

 

Founded by Frankie Decaiza Hutchinson, Emma Burgess-Olson and Christine McCharen-Tran, Discwoman is a New York-based platform, collective, and booking agency—that showcases and represents cis women, trans women, and genderqueer artists in electronic music. Started as a two-day festival in September 2014 at Bossa Nova Civic Club, Discwoman has since produced and curated events in 15+ cities—working with over 250 DJs and producers to-date.

 

Turmoil CTM Magazine

Posted in distribution, music, Wholesale on March 7th, 2018

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Turmoil CTM Magazine 2018

This 108-page publication presents diverse points of entry into CTM 2018’s Turmoil theme via essays and articles authored by music journalists, researchers, theorists, and participating artists.

Covering topics such as identity politics, social media call out culture, strategies in exploring and hacking artificial intelligence in music, as well as insights into musical genres ranging from gabber to metal to experimental improvisation, the magazine brings together diverse voices exclaiming, confronting, examining and encompassing aspects of the Turmoil theme. Portraits and interviews of individual artists, collectives and scenes round out the publication, which was created as a support to the 2018 edition’s inquiry into the potential of sound and music to invigorate resilience and awareness at a time when we have begun normalising the ongoing barrage of political, social, and environmental crises, and the resulting disquiet that resonates through our on- and offline lives.

Content:

Uneasy Times Demand Uneasy Music
By Jan RohlfThe Sound of New Futures: In Pursuit of Different Truths
By Mollie ZhangThe Abyss Stares Back… And It’s Smiling
Colin H. Van Eeckhout in conversation with Louise Brown

Late-Phase Identity Politics
Terre Thaemlitz in conversation with Marc Schwegler

The Kids Are Alt-Right – Tracing the Soundtrack of Neo-Reactionary Turmoil
By Jens Balzer

In Sonic Defiance of Extinction
By Rory Gibb, Anja Kanngieser & Paul Rekret

Distributed Hypocrisy
By James Ginzburg

Calling Out For Context
By Christine Kakaire

This is Now a History of the Way I Love It
By Claire Tolan

Listening to Voyager
By Paul Steinbeck

Why Do We Want Our Computers to Improvise?
By George E. Lewis

Minds, Machines, and Centralisation: Why Musicians Need to Hack AI Now
By Peter Kirn

Music from the Petri Dish
Guy Ben-Ary in conversation with Christian de Lutz & Jan Rohlf

I Need it to Forgive Me
By Nora Khan

Gabber Overdrive – Noise, Horror, and Acceleration
By Hillegonda C. Rietveld

“I’m Trying to Imagine a Space a Little Better Than What We’ve Inherited”
Kilbourne in conversation with Christina Plett

Raving at 200 BPM: Inside Poland’s Neo-Gabber Underground
By Derek Opperman

Ernest Berk and Electronic Music
By Ian Helliwell

Borshch #2. Mariana Berezovska.

Posted in fashion, magazines, Motto Berlin store, music on February 1st, 2018
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The second issue of BORSHCH explores electronic music on and beyond the dance floor. BORSHCH #2 presents conversations with Volruptus, Steffi, Gudrun Gud, Rødhåd, Perc. Special editorial on Berlin Atonal 2017 considers the festival through the lens of curators’ perspectives with organisers, Varg and Nordic Flora. BBC Radiophonic Workshop encourage to experiment and listen. Loke Rahbek of Posh Isolation takes an intimate look at Copenhagen’s punk and noise scene. Species of Fishes talk about sound symbolism and disclose reissued wisdoms. BORSHCH discusses development of electronic music scene in Kyiv step by step with politics aside.

 

Publisher: Borshch Magazine
Language: English
Pages: 128
Size: 16.5 x 24 cm
Weight: 390 g
ISBN: 9772566828008

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Zweikommasieben #16. Remo Bitzi (ed.). Präsens Editionen & Motto Books

Posted in distribution, Motto Books, music, Wholesale on November 15th, 2017
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To what extent can we imagine community, exchange, and collective projects that no longer fall back on the dominant narratives of nation, fatherland, and family? This question posed by Terre Thaemlitz in an exchange featured in the 16th edition of zweikommasieben is ever more pressing in a time, where the political and social fabric of western societies seems to disintegrate. The search for possible answers thus is subliminally present throughout the magazine—in the contribution on the independent Milan venue Macao, but also in interviews with NON-affiliate Farai or the American experimentalist Steve Hauschildt. Even the most hopeful answers remain ambivalent in the end it seems; ultimately there won’t be any utopias. „There’s a sun in the sky,“ as Laurel Halo points out in the magazine, „but it’s burning ever hotter.“
zweikommasieben #16 features interviews with Steve Hauschildt, Laurel Halo, DVA Damas, Mechatok, Farai, Parrish Smith and portraits on Nina of Golden Pudel and V.I.S., as well as Casual Gabberz’ Ēvil Grimace & Von Bikräv. There’s also an extended mail exchange with Terre Thaemlitz, “A Short History of the Aesthetics of Excess in Hip Hop”, various columns and a photo essay, plus contributions by Das Ding, Macao, Laraaji and German Army.

 

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Anthropology of AmnesiA listening session @ Motto Berlin. 18.11.2017

Posted in events, Motto Berlin event, music, Vinyl on November 14th, 2017
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oqko listening session @ Motto Berlin
Saturday 18th November 2017
Starts at 7pm

Lvis Mejía’s newest project, titled Anthropology of AmnesiA is an acousmatic essay addressing our utter necessity to remember in the face of existential oblivion, an innate behaviour of the human race.

Presented as a 33 minute long continuous composition, Anthropology of AmnesiA unrolls as a series of chapters, the contemplative character of the piece opening a particular frame within the listening experience, where Lvis Mejía attempts to convey the phenomenon of the collective consciousness through the cultural traces we leave behind.

Mejía’s takes the idea of “one species, one culture, one past” and places it at the center of the concept of the piece. Anthropology of AmnesiA examines a number of interpretations of rituals, orchestrations, chants, synthesis and field recordings – nestled within the piece are recordings of animals, fire, water and a human heart – the sum of these sonic identities incidentally reshaping their roots.

The diversity of the sonic sources highlights the comparative study element of Mejía’s work yet the common thread remains the human experience, recorded stories and the viva voce.

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