William Basinski - The Disintegration Loops D|P3

 

The sound that can be heard on William Basinski´s The Disintegration Loops could be described as minimal music in a deterioration process. The entirety of Basinski´s Disintegration Loop series spans almost five hours as it comprises no less than four albums. Essentially these are digital recordings of analogue ambient tape loops Basinski had recorded back in the 1980s. Within the attempt to digitalize the rediscovered tape, Basinski eventually found them in a process of deterioration, which he proceeded to record. With each repetition the deterioration process intensifies as the original magnetic tape slowly falls apart. Thus, its decay is quasi live recorded.

Therefore, distortion sounds gradually intensify until they finally dominate. Due to the constant change through the intensifying distortion sounds, one´s auditory experience is constantly changing, so that although the audience essentially listens to a loop, a sense of progression and almost the idea of a subtle narrative is established over the course of the piece. As the distinctiveness of the distortion sounds increases, they start to work almost like an instrument themselves. Thus, the impression that something has been added to - rather than raddled from - the original tape accrues. The reoccurring cracks on tape create another, ongoing, and with each loop gradually more concrete rhythm. Within this repetition a calming reliability reveals itself as the listener continuously builds up confidence in the (though cracking) seemingly never-ending wall of sound. After a while the repetitive rhythm provokes associations as the back-and-forth aspect bears resemblance with the well-known sounds of waves crashing on a shore or the sounds an electric guitar with extreme reverb may produce. With that I feel as if Basinski seemingly crosses the boarders between ambient as well as minimalist music and experimental, instrumental, and progressive rock. Especially the last half of d|p.3 does remind me of the music released by Neil Young and Crazy Horse (as featured on the soundtrack of Jim Jarmusch´s Dead Man) or Pink Floyd´s Shine On You Crazy Diamond Intro.  

Besides the listening experience most certainly promotes transcendental lure as it draws me into an almost meditative state of mind that is immune to distraction. Towards the end of d|p.3 the tape gives an almost agonized impression, as the advancing vanishment of sound announces the tape´s final demolition.

In the end, the silent parts and crackling noises dominate the recording and create a moment of thoughtful irritation as one almost gets the impression that the silence is being interrupted by the audible sounds. With that the image of a rich soundscape, intermitted by moments of silence has been reversed.  As the cracks and moments of silence caused by dust and erosion on the tape become more and more apparent, the rhythm changes and everything progressively slows down until the tape finally comes to a well-deserved rest. The length and intensity of the piece suggest an almost infinite progression, as swelling and fraying loops seemingly transcend space and time, serving almost as an indication of a convergence to infinity filtered through the nostalgic lens of relentless decay. This nostalgic feeling prompted by Basinski´s record is further emphasized through the context of their 2002/2003 release, being heavily informed by the events of September 11.