apparently the reissue boxset booklet (jeez louise) has pics of basinski mugging for the camera in his cape or whatever juxtaposed with 9/11 stuff which admittedly sounds pretty cool

"was always hating on this and then came to sort of begrudgingly like it and then saw the chris ott/shallow rewards video about pitchfork giving its reissue a 10 and then tbqh I started to hate it again lol"

lmfao!!! i get this.

also his new album is superb; easily one of 2020's best so get on that sonrobert

yeah basinski doing "songs" (? lengthwise at least) sounds intriguing I'll check it out!

I actually like basinski when I'm not blinded by extramusical rage but I think it's sort of heinous even though I'd like to think I'm not protecting the sanctity of 9/11 in all facets of life or whatever but just booooo

keep your politics out of my music you damn libcuck!!

I mean it ultimately dovetails with my feelings, developed as a young'un, that this is mostly a bunch of hot air regardless as well

clearly youre too just too dumb to comprehend the genius of this prescient modern day nostradamus

yknow what I gotta ramp up the conspiratorial tone. this is bigger than music

the live rendition of disintegration loops is one of the most astounding and peculiar performances i have ever seen. didn't realize there was such a rub on the philosophy behind this album its reception, but i think it deserves the import

lewis I need an industry enemy

eeeh far be it from me to tell someone not to enjoy something but im mostly with bobert on this one

i have had this album for a long time and have used it in many moments of isolation and reflection. "enjoy" is not the right word; comfort more like. there is an important conversation to be had between smarter people than i about exploitation and basinski's use of tragedy to sell loops. i personally think there is a place for artists like basinski to create that connection in serendipity. where he was, what he was doing, how it made him feel, how he felt it could make others feel: time has rendered it true, regardless of its quality (of which i consider it one of the most moving and beautiful ambient records in my collection). would it be a pitchfork 10 (or lewis 5) without the narrative? a stupid thought experiment. an artist sat atop his home in new york and witnessed unspeakable tragedy, and dedicated his work to the victims. if ever there was music to attach to such an event, to soundtrack the active-passive state of ruminating, this was it

>where he was, what he was doing, how it made him feel, how he felt it could make others feel: time has rendered it true

i do also kind of agree with this

all music is hot air

except tool

honestly listened to this for so long before i even knew the narrative of the album cover and stuff, always just thought the cover was some atmospheric pic of a sunset with a lot of gloom n shit

basinski seems like a simple enough dude that it's hard to really feel any sense of "i WiTNesSeD 9/11 aND mY WOrK iS IMpOrtANt," especially since it's not even a super obvious picture of the event itself

just comforting ambient music, and he considers his music a "chill pill," which i find really hard to hate ethics-wise

never sat down and listened attentively to this, always just used it to soundtrack doing chores or study to. always been more background noise than anything, which is just fine

whenever i listen to this i inevitably end up staring off into space and dissociating which is the absolute highest compliment i can give to an ambient record.

https://assets.rootsvinylguide.com/pictures/the-disintegration-loops-9lp-5cd-1dvd-book-by-william-basinski-vinyl-sep-201--2_40602382 nvm this guy whips ass

Album Rating: 3.0

PLENTY OF PEOPLE WATCHED THOSE TOWERS BURN. SOME OF THEM WERE LISTENING TO WHAM!, DUDE

so good lol. and so true