William Basinski pulls another couple of tape loops out of his voluminous archives, this time containing sounds from the rare Voyetra 8 synthesiser. A Shadow In Time is devised as a tribute to ‘David Robert Jones’ (aka David Bowie), and is a typically gorgeous, slowly-expanding work of Basinski-drone. Available on CD or vinyl, with exclusive, slightly different mixes on each format.
Vinyl LP £21.75 TRR278LP
LP on Temporary Residence. Note: Vinyl includes vinyl-only mix not available on any other format.
- Shipping cost: £3.35 ?
- Includes download code
- Only 1 copy left
CD £11.49 20621701
CD on 2062 - features extended version.
- Shipping cost: £1.05 ?
- Only 1 copy left
It turns out that William ‘crumbler’ Basinski loves David Bowie. I mean it’s not that surprising that a consistently great pop star is loved by someone who takes ‘normal’ music and forces it down it’s own throat, but still. This droney album right here is dedicated to the man from the sky, Mr Space.
This one is much less loopy loop and more swirly swirl. That’s a bad description, so let me represent it through the medium of ASCII symbol.
Less like: NNNNNNNNNNNNNNnnnnnnnnnnnnnnnnnnnnnnnn…………………………..
More like: ______--------===========---------===---______----^----------===-----^---______
Where the Disintegration series and follow ups like Cascade and The Deluge repeat a piece of melodic material before letting it tumble down, A Shadow In Time stays at a constant level, no cycling, just a long pretty smudge with a hint of unease. I guess once you flip over to the B, it feels more like the Basinski that most are familiar with, but it’s refreshing to hear him deviate from his ‘thing’. It sounds kinda like that collab with Richard Chartier, the A side at least. The B takes a sort of vague choral loop, quite a lot longer than the Disintegration Loops, and a fair amount more hymnal. Hymnic? Hymn-like. It’s very peaceful and contemplative, Bowie would have been proud. Once that obfuscated sax starts, you'll fall in love with this.
8/10 Stuart D 29th December 2017
The thing with drone is that - even more than other types of music - just as much depends on what the listener brings to the experience as the creator intended. Titles are a helpful guide to the intent of the artist, but as often as not I find the images a drone piece conjures up in my head to be a mile away from the label attached to it. 'A Shadow in Time' is an example which both exemplifies and contradicts that point.
Let's start with the title track, a 20 minute plus slice of layered sound, in which individual layers build and peak, then fade back into the background, all set against a constant, swirling hum. Listening to this on decent headphones in a dark room, it begins - for me - as the soundtrack to some slice of early sixties' BBC science fiction; a slow walk across the moon, or a monochrome pan across planets hanging in matte painted space. Four minutes or so in, and the little effects which prompted that image disappear from the mix, and we're left with long washes of sound, where one note or other dominates for a space then falls back again, the sound to me of travel and things passing by. And then, fifteen minutes in, sparse chimes and muted bells herald a slowly building repeated refrain of 8 or so notes which increase in clarity until the end. It's a beautiful, restful piece, if a little different from other Basinski I've heard.
The flip side, 'For David Robert Jones', on the other hand, is both more straight-forward and does exactly what it says on the tin. It begins much like 'A Shadow in Time' with waves of swirl and drone, but after six minutes the sound of (Bowie's?) disintegrating saxophone bleeds into the mix and takes over, repeating its brief, collapsing riff for fifteen glorious minutes, each time ending with what sounds to me like a foghorn (and with the track being a requiem, I can't help but picture a boat being guided through the mist, like some Styxian vision). It's a melancholy, but perversely triumphant, piece and one the man himself would have appreciated, I think.
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