I had heard about this happening, and frankly was very afraid of this happening to me since so much of my early work was precariously near the end of its shelf life. To my shock and surprise, I soon realized that the tape loop itself was disintegrating: as it played round and round, the iron oxide particles were gradually turning to dust and dropping into the tape machine, leaving bare plastic spots on the tape, and silence in these corresponding sections of the new recording. With excitement I began recording the first one to cd, mixing a new piece with a subtle random arpeggiated countermelody from the Voyetra. ![]() Beautiful, lush cinematic truly American pastoral landscapes swept before my ears and eyes. In the process of archiving and digitizing analog tape loops from work I had done in 1982, I discovered some wonderful sweeping pastoral pieces I had forgotten about. ![]() In 2007, Basinski explained the composition to WQXR: The Disintegration Loops actually date well before 9/11, to the early-'80s even, and the story of how it came to be "9/11 music," beyond the simple fact that they are just so incredibly sad, is strange and eerily fitting. He called the collective work simply "The Disintegration Loops." ![]() The soundtrack was an in-process version of a remarkable work, made up of ambient tape loops that are falling apart as they play. The composer William Basinski stood atop his Brooklyn rooftop on Tuesday, September, 11, 2001, watching with friends as part of his city's skyline disappeared.
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