William Basinski Various Experimental Ambient Abstract 90s Albums
Born: 1958 (age 57–58)
Origin: New York City
Genres: Ambient,Tape, Process music, Experimental
Years active: 1978–present
Labels: Raster-Noton, 2062 Records, Temporary Residence Limited, Spekk, Durtro, Die Stadt, Line, Associated acts Richard Chartier
All tracks composed and recorded live […] in 1982 at Music Laboratories in New York using tape loops and shortwave radio.
Tracks 1-4 originally released on LP by Noton [now Raster-Noton], Germany, 1997. Track 5is a bonus track which did not appear on the original vinyl release.
William Basinski - Shortwavemusic
Label:2062 - 2062.0701
Format:CD, Album, Reissue
Country: US Released: 08 Mar 2007 Genre: Electronic Style: Abstract, Minimal, Experimental 2007 Album Release with Bonus 5 Track
William Basinski is an experimental musician and composer currently residing in Los Angeles. Classically trained, he has worked with various forms of experimental media for nearly 30 years, mostly in New York.
One of his main compositional tools is the tape loop on reel-to-reel machines, and these also play the main role in his live performances. His work has been released by a variety of internationally-based labels, including his own 2062 label.
William Basinski (born 1958) is an avant-garde composer based in New York City. He is also a clarinetist, saxophonist, sound artist, and video artist.
Basinski is best known for his four-volume album The Disintegration Loops (2002–2003), constructed from rapidly decaying twenty-year-old tapes of his earlier music.
His first release was Shortwavemusic. Although created in 1983, it was first released on vinyl in a small edition in 1998 by Carsten Nicolai’s Raster-Noton label. This was followed by Watermusic, self-released in 2000 on Basinski’s 2062 Records.
Another 2-disc work was Variations: A Movement in Chrome Primitive, 1980: it was finally released in 2004 by David Tibet on the Durtro/Die Stadt label. At the time this work was created, Basinski was experimenting with compositions for piano and tape loops.
Throughout the 1980s, Basinski created a vast archive of experimental works using tape loop and delay systems, found sounds, and shortwave radio static. He was a member of many bands including Gretchen Langheld Ensemble and House Afire. In 1989, he opened his own performance space, “Arcadia” at 118 N. 11th Street.
In the 1990s, he performed and produced records and intimate underground shows there for various NYC artists including Antony, Diamanda Galás, Rasputina, The Murmurs, and his own ad-hoc experimental electronic/improvisation band, Life on Mars.
In 2000, he made a film titled Fountain with artists James Elaine and Roger Justice.
In August and September 2001, he set to work on what would become his mostrecognizable piece, the four-volume album The Disintegration Loops.
The recordings were based on old tape loops which had degraded in quality. While attempting to salvage the recordings in a digital format, the tapes slowly crumbled and left a timestamp history of their demise.
Discography William Basinski:
Shortwavemusic (1998, Raster-Noton)
Watermusic (2000, 2062 Records)
The Disintegration Loops (2002, 2062 Records)
The River (2002, Raster-Noton)
The Disintegration Loops II (2003, 2062 Records)
Watermusic II (2003, 2062 Records)
Melancholia (2003, 2062 Records)
The Disintegration Loops III (2003, 2062 Records)
A Red Score in Tile (2003, Three Poplars)
The Disintegration Loops IV (2003, 2062 Records)
Variations: A Movement in Chrome Primitive (2004, Durtro/Die Stadt)
Untitled (2004, Spekk) with Richard Chartier
Silent Night (2004, 2062 Records)
The Garden of Brokenness (2006, 2062 Records)
Variations for Piano and Tape (2006, 2062 Records)
El Camino Real (2007, 2062 Records)
92982 (2009, 2062 Records)
Vivian & Ondine (2009, 2062 Records)
Aurora Liminalis (2013, Line) with Richard Chartier
Nocturnes (2013, 2062 Records)
Cascade (2015, 2062 Records)
The Deluge (2015, 2062 Records)
The Disintegration Loops (2012, Temporary Residence Limited)
Electro Acid Idm Music dark Umwelt – A Tale Of Disruptive Science
As an artist, Umwelt he has been composing electronic music since 1996 and released his first tracks in 1997. He began producing techno and electro on his own labels Shelter and FundataRecords that have met a great success.
Umwelt – A Tale Of Disruptive Science “electro acid idm”
Now his sounds are more electro, dark and broken. From the beginning, he has exclusively worke with hardware: this man loves machines …he doesn’t find computers and softwares very attractive and very sexy.
Music Tags:electro, nu electro, e-l-e-c-t-r-o, dark, electro breaks
Hailing from Lyon, the French indie label New Flesh Records was launched in 2010 by infamous electro artist Umwelt and graphic partner Chris Nexus 6.
New Flesh electro music label french
Featuring heavyweights producers Spectrum Data Forces, Jauzas The Shining, Absolute Fiction, Deemphasis, Morphogenetic, Alek Stark, Debonaire, ESS, Univac, DeFeKT, Franck Kartell, Boris Divider, as well as Umwelt himself, the imprint gathers together multiple sublabels including New Flesh Lab, New Flesh Remix, New Flesh LTD, and Rave Or Die.
Definitively undergroundand futuristic, productions are characterized by the use of analogue synthetic machines: therefore, the music oscillates between Electro and Technostyles.
From sound to design, the New Flesh artistic line represents a disaster-stricken world where human has lost any hope for survival. Let transmit your airwaves to overthrow the system and build up the movement for a new civilization. New Flesh celebrates the alliance between people fighting against the domination of a mediocre and formatted music. A movement that will impose change through a sound revolution. …. Long live New Flesh Records !
Shipwrec is Electronic music label from Netherlands, founded in 2010. Sublabels:Deep Sound Channel, Galatea
Electro Acid Idm Music dark Umwelt – A Tale Of Disruptive Science
Electro is a genre of electronic music and early hip hop directly influenced by the use of the Roland TR-808 drum machines, and funk. Records in the genre typically feature drum machines and heavy electronic sounds, usually without vocals, although if vocals are present they are delivered in a deadpan manner, often through electronic distortion such as vocoding and talkboxing.
This is the main distinction between electro and previously prominent genres such as disco, in which the electronic sound was only part of the instrumentation. It also palpably deviates from its predecessor boogie for being less vocal-oriented and more focused on electronic beats produced by drum machines.
Following the decline of disco music in the United States, electro emerged as a fusion of funk and New York boogie. Early hip hop and rap combined with German and Japanese electropop influences such as Kraftwerk and Yellow Magic Orchestra (YMO) inspired the birth of electro. In 1982, producer Arthur Baker with Afrika Bambaataa released the seminal “Planet Rock” which was influenced by the Yellow Magic Orchestra using samples Kraftwerk and drum beats supplied by the TR-808.
Planet Rock was followed later that year by another breakthrough electro record, Nunk by Warp 9. In 1983, Hashim created an electro funk sound which influenced Herbie Hancock, resulting in his hit single “Rockit”.
The early 1980s were electro’s mainstream peak. By the mid 1980s, the genre moved away from its electronic and funk influences, using harder edged beats and rock samples, exemplified by Run DMC. Electro became popular again in the late 1990s with artists such as Anthony Rother and DJs such as Dave Clarke. A third wave of popularity occurred in 2007. Electro has branched out into subgenres, including Electrocore and Skweee, which developed in Sweden and Finland.