![]() Like his other pieces, it’s simple to describe: an endlessly repeated piano figure draped in delicate reverb and echo, lightly hissing with tape distortion, minutely altered over the course of its 40-minute duration, aside from an abrupt drop in volume followed by a nearly choral figure for its last few minutes. The temporal rifts built into pieces such as those opened the door to reams of theoretical and emotional loops, time and affect torquing around one another in bewildering ways.īut there’s always a first-level affect at work in his pieces as well - repetition of emotionally resonant minor chord loops as a gateway into deeply felt sorrow - but aside from 2003’s Melancholia, he’s rarely approached his work with such strict focus on crafting a specific somatic response as he does on Cascade. ![]() ![]() The albums of William Basinski, America’s most-renowned quasi-ambient tape loop manipulator, are most affecting (or perhaps just most approachable) when they provide a temporally specific “in.” It’s no wonder that The Disintegration Loops and their 9/11 narrative remain his most well-known pieces, and the wisps of 1980s Brooklyn street noise rippling the loops of 92982 tinged that album with a hyper-specific nostalgia.
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