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LP
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2MR 026LP
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LP version. 2017 release. On I Have What I Gave, Italian musician Bottin outdoes himself. He crafts propulsive, disco-laden scores for films not yet made, and introspective, mind-expanding cuts designed to ensure that people who want to dance never get caught up in conventional experiences. There's the hypnotic, pop-disco cut "Y-A-M-L" featuring past collaborator Lavinia Claws on vocals. It existed in parts for a decade before coming together during the sessions for this album. It's an energetic and transcendent affair. "L'Amore" has a foundation that recalls the cascading minimalism of Steve Reich and the cinematic work of the likes of Howard Shore. By the time the beat comes in, it's pretty clear this is no mere exercise in routine nu-disco. Another cut that proves Bottin should be scoring films is "Varosha" with its dark, arena-sized John Carpenter vibes that traffic in dystopia to balance out the bubbling optimism of "L'Amore". The record's quest extends back in time on "Perfect Mind", featuring words from the ancient Greek prayer, "The Thunder, Perfect Mind" found amid the famous Nag Hammadi texts in Egypt in 1945. Over a pulsating, acidy backdrop the words are delivered through various vocal synthesis engines, evoking a cold, artificially intelligent singularity discussing the most human of matters. All throughout an album filled with intricate and nuanced arrangements, Bottin doesn't forget to keep people moving. There's "Stellar Parade" another in a line of great collaborations with legendary Italian electronic musician Alexander Robotnick. There's also "Twenty-Three" an organic-sounding arp bath that perfectly channels the tension that builds over the course of a night. Bottin's work as one-half of experimental synth outfit Deardrums rubs off on "Microdisco" which is fat with pulsating analogue synths and resonant beat experimentations. One thing that sets I Have What I Gave apart from his pioneering horror disco and much-loved Punica Fides LPs is that this time around Bottin didn't see to it to create a concept-album structure. Everything came at once during the writing and recording process, which no doubt gives the album its intensity and sense of immediacy.
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CD
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2MR 026CD
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2017 release. On I Have What I Gave, Italian musician Bottin outdoes himself. He crafts propulsive, disco-laden scores for films not yet made, and introspective, mind-expanding cuts designed to ensure that people who want to dance never get caught up in conventional experiences. There's the hypnotic, pop-disco cut "Y-A-M-L" featuring past collaborator Lavinia Claws on vocals. It existed in parts for a decade before coming together during the sessions for this album. It's an energetic and transcendent affair. "L'Amore" has a foundation that recalls the cascading minimalism of Steve Reich and the cinematic work of the likes of Howard Shore. By the time the beat comes in, it's pretty clear this is no mere exercise in routine nu-disco. Another cut that proves Bottin should be scoring films is "Varosha" with its dark, arena-sized John Carpenter vibes that traffic in dystopia to balance out the bubbling optimism of "L'Amore". The record's quest extends back in time on "Perfect Mind", featuring words from the ancient Greek prayer, "The Thunder, Perfect Mind" found amid the famous Nag Hammadi texts in Egypt in 1945. Over a pulsating, acidy backdrop the words are delivered through various vocal synthesis engines, evoking a cold, artificially intelligent singularity discussing the most human of matters. All throughout an album filled with intricate and nuanced arrangements, Bottin doesn't forget to keep people moving. There's "Stellar Parade" another in a line of great collaborations with legendary Italian electronic musician Alexander Robotnick. There's also "Twenty-Three" an organic-sounding arp bath that perfectly channels the tension that builds over the course of a night. Bottin's work as one-half of experimental synth outfit Deardrums rubs off on "Microdisco" which is fat with pulsating analogue synths and resonant beat experimentations. One thing that sets I Have What I Gave apart from his pioneering horror disco and much-loved Punica Fides LPs is that this time around Bottin didn't see to it to create a concept-album structure. Everything came at once during the writing and recording process, which no doubt gives the album its intensity and sense of immediacy.
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12"
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ESK 503808
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Bottin is an Italian musician, sound designer and DJ in Venice, where he fights a reckless war against his neighbors: the infamous pigeons of St. Mark's square, who sometimes try to sabotage his already unstable vintage synths. Bottin's sound is a blend of '70s disco, early '80s electro, and Italian giallo and can be roughly defined as "horror disco." His Eskimo debut was supported by everyone from Mylo to Aeroplane to Prins Thomas to Pete Herbert, and many more.
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