The course of William Basinski’s artistic creek is full of soft left turns: trained in his Texan childhood as a classical clarinettist, he went on to study jazz saxophone and musical composition, prompting his immersion in the minimalism of John Cage, Steve Reich, and Brian Eno.
He even made a brief foray into English rockabilly, playing with a group that, by a stroke of luck and illness, opened for David Bowie in August of 1983.
Throughout the 80’s and 90’s, he labored among the multimedia avant-garde flourishing on New York’s artistic periphery, offering the home that he shared with his partner, the video artist James Elaine, to nurture his experimentalist peers. He came to a prominence of his own with the release, in 2002, of his Disintegration Loops, a four-part marathon chronicling the transformation of ambient arrangements, recorded and archived on reel-to-reel tapes two decades prior, as they fell apart physically and sonically in the course of their conversion to digital files.
In the ensuing years, a deluge of like-minded variations poured out in the wake of Loops, cementing Basinski’s status in the pantheon of modernists who have brought to light the rich potentialities of the space between sounds.
he makes his return this Friday, 12 January, where he will premiere ‘On Time Out of Time,’ a suite slated for release later this year
He last appeared at Funkhaus in November of 2017, as a panelist and player in Ableton’s Loop: A Summit for Music Makers; he makes his return this Friday, 12 January, where he will premiere ‘On Time Out of Time,’ a suite slated for release later this year.
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