18 Floors (white vinyl), Magda Drozd. Präsens 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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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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SOFT NEED #23 – Just a Little Piece of Me / Dream Journal (For Udo) (7″ vinyl). Sonic Boom / Papiro. Planam

Posted in music, Vinyl on February 9th, 2021
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**Edition limited to 200 copies in glossy full-color sleeve**

Planam present the first 7” edition issued in its catalogue, the split-single with consonant musicians Sonic Boom and Papiro. Originally produced as contribution for “Soft Need 23”, a book on Burroughs/Gysin edited by Udo Breger, this 7“ included in the book’s ultra-limited deluxe version is hereby available in its shiny and beautifully repackaged edition. Former Spacemen 3 mastermind and alchemist producer Sonic Boom (aka Pete Kember, E.A.R., Spectrum) offers an unreleased instrumental version of ”Just a Little Piece of Me“, an overture for West-Coast-Style synthesizer and harp, starring a repeating ardent theme. Papiro, who was also responsible for the vivid cover artwork, engraves his side with the electronic lullaby ”Dream Journal (for Udo)“, written purposely for Breger, as the title suggests, and released exclusively for this single. Papiro and Kember are known for their gallant trips between experimental and meditative abstract worlds. This single shows their ability to touch the soul during these ventures.

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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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mono no aware. V/A . PAN Recordings.

Posted in music, Vinyl on April 18th, 2017
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mono no aware (もののあわれ) is the first compilation to be released on PAN, collating unreleased ambient tracks from both new and existing PAN artists.

Featuring Jeff Witscher, Helm, TCF, Yves Tumor, M.E.S.H., Pan Daijing, HVAD, Kareem Lotfy, ADR, Mya Gomez, Sky H1, James K, Oli XL, Bill Kouligas, Flora Yin-Wong, Malibu, and AYYA, the compilation moves through more traditional notions of what is called ’ambient’, to incorporating wider variations that fall under the term.

“Mono no aware”, ‘the pathos of things’, also translates as “an empathy toward things”, or “a sensitivity to ephemera”. A term for the awareness of impermanence, or the transience of things. A meditation on mortality and life’s transience, ephemerality heightens the appreciation of beauty and sensitivity to their passing. In investigating the passing of time, the boundaries between memory and hallucination become blurred; between fiction and reality. The movement of time transforms into an eternal present.

€26.99

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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

Tracklist;
A1. W9
A2. W12
A3. W10
A4. W11

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

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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.

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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.

17.80€
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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

€17.99

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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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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.
credits
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.

€13.65

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