Show Me What You Got.

I’m starting to notice that if I shoot as close to overhead as possible, it becomes difficult to tell if the space is extending or receeding. Except for the shadows being cast to the bottom left of each character…

Testing materials and lighting for the 3d face I’ve been working on. Tried illustration board and chipboard painted with acrylic to no avail. I’m going to take my samples into the lighting studio and see how it looks with strobes.

"Since its inception Basic Channel has become a byword for a certain kind of minimalism, where tracks evolve from the basest of sounds, and the records themselves continue to draw attention to their format by dissolving the distinction between recorded and realtime scratches and distortions. They remind you that these records are there to be played, not archived and cherished."

Taken from “Underground Resistors” in The Wire (#150, August 2006)

4 years ago / reblog

Music Reference 001

These three tracks are representative of the kind of music I’m drawn to; bare, analog yet electronic and repetitive. If you take the time to listen carefully, you’ll notice that’s its more than just a loop repeating over and over again. Keeping in mind the phrase that’s being repeated over and over, you’ll notice a subtle interplay between the all the parts of the song.

One random graphic design observation - I think all of Basic Channel record labels were made so that the text was as close to illegible as possible.

4 years ago / reblog

"In essence, Basinski is improvising using nothing so much as the passage of time as his instrument, and the result is the most amazing piece of process music I’ve ever heard, an encompassing soundworld as lulling as it is apocalyptic. A piece may begin bold, a striking, slow-motion slur of ecstatic drone, and in the first minute, you will notice no change. But as the tape winds on over the capstans, fragments are lost or dulled, and the music becomes a ghost of itself, tiny gasps of full-bodied chords groaning to life amid pits of near-silence. Some decay more quickly and violently than others, surviving barely 15 minutes before being subsumed by silence and warping, while the longest endures for well over an hour, fading into a far-off, barely perceptible glow."

Pitchfork review of William Basinski’s Disintegration Loops by Joe Tangari