Bottin presents Quality Time – 65A (Quality Time)

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Bottin presents Quality Time – Quality Time [Industrie Discografiche Lacerba – LACER29]

Quality Times asks what it means to release music in a world continually bathed in the digital flow of thought and expression. This overabundance risks polarizing the reception of popular culture rather than encouraging open and inclusive critical dialogue. Despite its history as the vessel and voice of the cultural restlessness from the 1950s onward, pop music and the discourse surrounding it has declined in the digital age as it becomes lost in the proliferation of commentary. The accessibility and shareability of media –the commodification of the sound file– removes the creative product from the realm of public expression and rhetorical value to a “private consumer bliss”, a personal cocoon of sound.

Searching for a virginal sound rolling back to the zero degree in contemporary pop, Quality Time offers us an interesting perspective: Bottin (born 1977) tackles this job exploring the proto-electronic Casiotone keyboard as is, and no filters or additional parts will modify its sound aesthetics. It's an exercise in synthesis where the reduced plasticity of sound limited by the preset sounds, makes him imagine a functionalist guise of the music. Beyond the intentionality in its relationship with memory this work could be more influenced by Derrida's ghosts than by Moroder's clicks, as it's not a critique of the times–nostalgic or perhaps hauntological–which pushes Bottin into assembling these instrumental tracks, but rather an 'a posteriori' analysis of the nature of sound.
It's Library Music made out of sheer intellectual honesty, opposed to the more common purpose –always cynical, or in any case pragmatic and non-authorial– of producing music as a commodity.

There’s an innocent quality to Quality Time: the vacuum of commission that makes the music imaginary abstractly shapes the moods evoked by the vintage nature of the medium itself. The Casiotone alphabet allows Bottin to assemble seductive instrumental tracks marked by alphanumeric acronyms and interspersed with sourced fragments of dialogues. He projects the music into an aesthetic operation that transforms the composer into an anonymous 'concept employee' for whom the interludes between tracks recall the contemporary realm. The coupling of existential alienation and postmodern idleness birth a statement: I was looking for happiness but I got lost.

Bottin :
Italian artist, producer, dj and sound designer based in Venice. Before moving to contemporary electronic scene he has worked as producer, arranger and remixer for major Italian and international artists (such as Lucio Dalla, Rettore, Chambao). He curated several music events for the Biennale of Venice, contributed to the establishing of CIMM (Biennale's centre for eletronic music) and did sound design of the Spanish Pavilion at the 51st Biennale of Contemporary Arts. Doctoral researcher in musicology at the University of Milan, Italy.

Industrie Discografiche Lacerba is an Italian independent record label founded in Florence, Italy in 1982 by Paolo Cesaretti. Named after the futurist literary journal ''Lacerba'' (circulating in Florence between 1913 and 1915), the label produced a magazine called FREE, each issue of which contained a 7-inch single divided between two bands or more. Eventually, the magazine idea was dropped in favor of conventional record releases featuring several musical acts from Florence, such as Pankow, Federico Fiumani, Minox, Rinf, as well as Steven Brown.

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