![]() Lamentations isn’t all serious and somber, though-the chopped-up singing that stumbles and restarts throughout “Please, This Shit Has Got to Stop” makes it sound almost whimsical. “Tear Vial” thrums in an aqueous haze through nearly five minutes of slowly oscillating piano chords, and “O, My Daughter, O, My Sorrow” (a tribute to performance artist Marina Abramović) dissolves Svetlana Spajić’s interpretation of Serbian folk song “Ko Pokida Sa Grla Djerdane” to make a surreal hymn. The passage of time isn’t just a palpable part of this music-it’s an integral collaborator in its creation. Since then, Basinski has continued his deep explorations of the realms of sound, and this month the concept-driven composer released Lamentations, which draws from more than four decades’ worth of tape loops and sound sketches plucked from his archives. ![]() Dedicated to the victims of the 9/11 attacks (he finished the work the day the towers fell) and released in four installments across 2002 and ’03, The Disintegration Loops made such an impact that in 2012 it was inducted into the National September 11 Memorial & Museum. The New York-based composer and musician is best known for the four-volume audio experiment The Disintegration Loops, which he created in summer 2001 by recording the deterioration of tape loops he’d made in the early 80s. began issuing stay-at-home orders, he has unveiled a collaboration with sound artist Richard Chartier and a new project called Sparkle Division. William Basinski has thrown himself headlong into the kind of “productive quarantine” that seems like a myth to most of us, and the spoils are abundant. Best of Chicago 2022: Sports & Recreation. ![]()
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