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Alternative & Indie - Released September 2, 2014 | Temporary Residence Ltd.

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Alternative & Indie - Released January 17, 2003 | 2062

"It’s an album split into tracks, although it’s almost impossible to regard it as such, especially as it’s easy to pin a narrative on it when tiny pin-pricks of light rip through the surface in its backend." © TiVo
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Alternative & Indie - Released January 15, 2001 | 2062

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Ambient - Released March 8, 2019 | Temporary Residence Ltd.

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Alternative & Indie - Released September 2, 2014 | Temporary Residence Ltd.

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Alternative & Indie - Released September 2, 2014 | Temporary Residence Ltd.

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Alternative & Indie - Released March 19, 2009 | 2062

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Ambient - Released January 20, 2017 | 2062

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Composer William Basinski's 2017 album A Shadow in Time contains two pieces, one of which ("For David Robert Jones") was commissioned by Los Angeles gallery Volume shortly after the early-2016 death of David Bowie. As with The Disintegration Loops, the 9/11 elegy for which Basinski is best known, the piece was created using decrepit tape loops that seem to call out like voices or melodies from the dead. Here, the main loop sounds like it could've been a fragment of some sort of cheery recording from the early 20th century, but here it's been faded and distorted beyond recognition into something ghastly and haunting. After six minutes, it's joined by a garbled, mangled loop of Basinski's tenor saxophone playing. The two loops are suspended in a damp, cloudy ether with the help of ominous droning played on a Voyetra 8, an extremely rare and complex polyphonic synthesizer. The piece is directly inspired by "Subterraneans," the elegiac closing number from Bowie's landmark 1977 album Low, but Basinski's feels much more ghostly and removed from reality. The sounds continue to loop and flow, and while it feels like there are changes gradually being made, it's hard to tell what's being added, removed, or altered. It seems like it's sinking deeper and deeper, but at the same time it doesn't feel like it's moving an inch. There is certainly a subtle bass pulse that emerges during the second half, gradually getting louder before the loops end up withering away into nothing. "A Shadow in Time" seems more focused on the Voyetra than on tape loops, beginning with soft, feedback-like tones and gradually seeping into a more enveloping drone. The piece seems like it needs to be experienced in a huge, spacious setting in order to fully grasp everything occurring in its dense, detailed web of sound. At times, crashing or sweeping sounds are heard, and it seems like melodies are beginning to emerge, but it's never obvious. On the vinyl version, the piece ends after 17 minutes, but on the CD, it concludes with a coda of a sparse, fragile piano loop. As ever, Basinski is a master at suspending time, and the album seems to flow by faster than the clock indicates. When it does end, you wonder if you've been taken somewhere, or if you've been changed in some way. The only key to answering these questions is to dive back in. © Paul Simpson /TiVo
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Alternative & Indie - Released January 17, 2003 | 2062

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Alternative & Indie - Released September 2, 2014 | Temporary Residence Ltd.

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Alternative & Indie - Released March 3, 2007 | 2062

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Ambient - Released August 24, 2020 | Temporary Residence Ltd.

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Alternative & Indie - Released July 7, 2007 | 2062

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Ambient - Released February 8, 2019 | Temporary Residence Ltd.

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Alternative & Indie - Released March 10, 2007 | 2062

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Alternative & Indie - Released April 28, 2015 | 2062

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Alternative & Indie - Released May 15, 2003 | 2062

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Alternative & Indie - Released April 28, 2015 | 2062

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Alternative & Indie - Released July 19, 2006 | 2062

Over the past several years, William Basinski has released on his 2062 imprint several archived releases of his work with tape loops and piano from the '70s and '80s. Variations for Piano and Tape is no exception. Much of the 45-minute piece relies heavily on trademark Basinski elements: a melancholic melody played on a piano with a sense of fragility and romantic sentimentality, repeated over and over at a slow tempo. However, what sets this piece apart from its contemporaries is the method in which the tape provides such a haunting counterpoint. Like his Disintegration Loops series, the tape machine acts as an agent slowly modifying and eroding the original piece, this time providing a reverse piano (thanks to the other side of the tape wearing through) as a counterpoint melody. For fans of Basinski's work, there is nothing here out of the ordinary that will provoke or irritate -- nothing to shock, and he really doesn't make any bold departures sonically with this piece. However, it is definitely one of the most relaxed, soothing pieces in his entire catalog, and it is one of the more accessible pieces as well. © Rob Theakston /TiVo
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Ambient - To be released November 13, 2020 | Temporary Residence Ltd.

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