Nicola Ratti
The Collection
Boomkat Product Review:
The Collection is an intimate survey of Italian minimalist Nicola Ratti (Bellows) in his element, conducting dusty knocks and electro-acoustic effervescence in a play of greyscale tones and rhythmic irregularities at his Milan studio. Featuring material recorded over a number of years, it’s best considered as summary of Ratti’s personal favourite, unreleased highlights of the past few years, focussing on stray, ostensibly unconnected pieces which, when collected, represent a mosaic of his artistic development and the underlying aesthetics of his identity.
Hand-picked by Ratti, The Collection peers into every nook and niche of his elusive style, from fidgeting small sounds redolent of Bellows, to booming slow techno and rolling, reactive dub mutations primed for the ‘floor, each giving a canny insight to the personalised intricacies and underlying inputs of his texturhythmic sound.
It’s the kind of music that the machines may make behind our backs or once we’re all gone. But, as it stands, it’s all the work of one man sequestered in his studio with his worries, facing banks of gear and often wondering what the f**k am I going to do today? That may not be instantly detectable to the listener, but as Ratti stresses in the promo text, this is an unspoken aspect of the recording process which belies each of these recordings, if only to him.
These outside pressures of artistic endeavour vs capitalist realism thus serve to inform the material’s agitated nature and emotional ambiguity, there in the itchy yet sanguine feel of L2, laced into the quizzical probe of L6, diffused thru the recursive dub-tech system of L1, or rendered in perfectly elusive, gaseous fashion with R401, which arguably defines his sound as uniquely suggestive not prescriptive.
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Boomkat Product Review:
The Collection is an intimate survey of Italian minimalist Nicola Ratti (Bellows) in his element, conducting dusty knocks and electro-acoustic effervescence in a play of greyscale tones and rhythmic irregularities at his Milan studio. Featuring material recorded over a number of years, it’s best considered as summary of Ratti’s personal favourite, unreleased highlights of the past few years, focussing on stray, ostensibly unconnected pieces which, when collected, represent a mosaic of his artistic development and the underlying aesthetics of his identity.
Hand-picked by Ratti, The Collection peers into every nook and niche of his elusive style, from fidgeting small sounds redolent of Bellows, to booming slow techno and rolling, reactive dub mutations primed for the ‘floor, each giving a canny insight to the personalised intricacies and underlying inputs of his texturhythmic sound.
It’s the kind of music that the machines may make behind our backs or once we’re all gone. But, as it stands, it’s all the work of one man sequestered in his studio with his worries, facing banks of gear and often wondering what the f**k am I going to do today? That may not be instantly detectable to the listener, but as Ratti stresses in the promo text, this is an unspoken aspect of the recording process which belies each of these recordings, if only to him.
These outside pressures of artistic endeavour vs capitalist realism thus serve to inform the material’s agitated nature and emotional ambiguity, there in the itchy yet sanguine feel of L2, laced into the quizzical probe of L6, diffused thru the recursive dub-tech system of L1, or rendered in perfectly elusive, gaseous fashion with R401, which arguably defines his sound as uniquely suggestive not prescriptive.
Boomkat Product Review:
The Collection is an intimate survey of Italian minimalist Nicola Ratti (Bellows) in his element, conducting dusty knocks and electro-acoustic effervescence in a play of greyscale tones and rhythmic irregularities at his Milan studio. Featuring material recorded over a number of years, it’s best considered as summary of Ratti’s personal favourite, unreleased highlights of the past few years, focussing on stray, ostensibly unconnected pieces which, when collected, represent a mosaic of his artistic development and the underlying aesthetics of his identity.
Hand-picked by Ratti, The Collection peers into every nook and niche of his elusive style, from fidgeting small sounds redolent of Bellows, to booming slow techno and rolling, reactive dub mutations primed for the ‘floor, each giving a canny insight to the personalised intricacies and underlying inputs of his texturhythmic sound.
It’s the kind of music that the machines may make behind our backs or once we’re all gone. But, as it stands, it’s all the work of one man sequestered in his studio with his worries, facing banks of gear and often wondering what the f**k am I going to do today? That may not be instantly detectable to the listener, but as Ratti stresses in the promo text, this is an unspoken aspect of the recording process which belies each of these recordings, if only to him.
These outside pressures of artistic endeavour vs capitalist realism thus serve to inform the material’s agitated nature and emotional ambiguity, there in the itchy yet sanguine feel of L2, laced into the quizzical probe of L6, diffused thru the recursive dub-tech system of L1, or rendered in perfectly elusive, gaseous fashion with R401, which arguably defines his sound as uniquely suggestive not prescriptive.
Boomkat Product Review:
The Collection is an intimate survey of Italian minimalist Nicola Ratti (Bellows) in his element, conducting dusty knocks and electro-acoustic effervescence in a play of greyscale tones and rhythmic irregularities at his Milan studio. Featuring material recorded over a number of years, it’s best considered as summary of Ratti’s personal favourite, unreleased highlights of the past few years, focussing on stray, ostensibly unconnected pieces which, when collected, represent a mosaic of his artistic development and the underlying aesthetics of his identity.
Hand-picked by Ratti, The Collection peers into every nook and niche of his elusive style, from fidgeting small sounds redolent of Bellows, to booming slow techno and rolling, reactive dub mutations primed for the ‘floor, each giving a canny insight to the personalised intricacies and underlying inputs of his texturhythmic sound.
It’s the kind of music that the machines may make behind our backs or once we’re all gone. But, as it stands, it’s all the work of one man sequestered in his studio with his worries, facing banks of gear and often wondering what the f**k am I going to do today? That may not be instantly detectable to the listener, but as Ratti stresses in the promo text, this is an unspoken aspect of the recording process which belies each of these recordings, if only to him.
These outside pressures of artistic endeavour vs capitalist realism thus serve to inform the material’s agitated nature and emotional ambiguity, there in the itchy yet sanguine feel of L2, laced into the quizzical probe of L6, diffused thru the recursive dub-tech system of L1, or rendered in perfectly elusive, gaseous fashion with R401, which arguably defines his sound as uniquely suggestive not prescriptive.
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Boomkat Product Review:
The Collection is an intimate survey of Italian minimalist Nicola Ratti (Bellows) in his element, conducting dusty knocks and electro-acoustic effervescence in a play of greyscale tones and rhythmic irregularities at his Milan studio. Featuring material recorded over a number of years, it’s best considered as summary of Ratti’s personal favourite, unreleased highlights of the past few years, focussing on stray, ostensibly unconnected pieces which, when collected, represent a mosaic of his artistic development and the underlying aesthetics of his identity.
Hand-picked by Ratti, The Collection peers into every nook and niche of his elusive style, from fidgeting small sounds redolent of Bellows, to booming slow techno and rolling, reactive dub mutations primed for the ‘floor, each giving a canny insight to the personalised intricacies and underlying inputs of his texturhythmic sound.
It’s the kind of music that the machines may make behind our backs or once we’re all gone. But, as it stands, it’s all the work of one man sequestered in his studio with his worries, facing banks of gear and often wondering what the f**k am I going to do today? That may not be instantly detectable to the listener, but as Ratti stresses in the promo text, this is an unspoken aspect of the recording process which belies each of these recordings, if only to him.
These outside pressures of artistic endeavour vs capitalist realism thus serve to inform the material’s agitated nature and emotional ambiguity, there in the itchy yet sanguine feel of L2, laced into the quizzical probe of L6, diffused thru the recursive dub-tech system of L1, or rendered in perfectly elusive, gaseous fashion with R401, which arguably defines his sound as uniquely suggestive not prescriptive.
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