William Basinski [ Houston, 1958 ] a New York-based classically-trained clarinetist and saxophonist, specializes in compositions for loops and drones. He began experimenting with compositions for piano and tape that created a melancholy ambience via looped and overdubbed melodies with Variations -
A Movement in Chrome Primitive (1980), released on Variations - A Movement in Chrome Primitive (Durtro, 2002 - Die Stadt, 2004), and A Red Score in Tile (1979), released on A Red Score in Tile (3 Poplars, 2003). Shortwave Music (1982), some of which appear on Shortwave Music (Noton, 1998), processed and assembled snippets of radio broadcasts to produce atmospheres at the border between musique concrete and ambient music. The River (1983), collected on the double-disc The River (Noton, december 2002), was the most mature expression of “shortwave music”.
Melancholia (Durtro, 2003 - 2062, 2005) collects more loop-based vignettes from the 1980s, closer in feeling and scope to Erik Satie and Brian Eno. During the 1980s, Basinski often played saxophone during multimedia performances, and was a member of the Gretchen Langheld Ensemble, which later evolved into House Afire.
In 1989 he opened his own loft for the creative arts, nicknamed “Arcadia”. Throughout the 1990s he refined his song-cycle Hymns of Oblivion. In 1997, Basinski launched his performance-art act Beautifying America. He also formed the electronic ensemble Life on Mars. Basinski has also created videos and films, notably the “ambient film” Fountain (2000).
On Saturday, May 20, multi-instrumentalist and lauded bass player Erik Kramer released his debut studio endeavor, an EP entitled ‘Missed the Boat.’ The Brooklyn-based musician has an especially eclectic sound, one that employs the talent of a slew of musicians: saxophone, trombone, viola, trumpet, back-up vocalists - they’re all there. An experimental record through and through, ‘Missed the Boat’ is an indie record quite unlike anything else that’s come across my desk in recent months.
The Great Long Distance is an audible recollection of the first 12 months of a long distance relationship, including the highs and lows and moments in between. It is a journal without words, each of the 12 tracks representing each month respectively. Inspired by the format of NIN's "Ghosts I-IV", the album is a sonic tapestry of different moods and themes, with various recurring motifs and the subtle melding of synthesizer and samples; the result something not quite classical, ambient or electronic - rather, an eclectic blend of the three. For fans of Ólafur Arnalds, Nils Frahm and later Ulver