BEGIN:VCALENDAR VERSION:2.0 PRODID:-//360exp//Calendar//EN CALSCALE:GREGORIAN METHOD:PUBLISH X-WR-CALNAME:360exp REFRESH-INTERVAL;VALUE=DURATION:PT1H X-PUBLISHED-TTL:PT1H X-WR-TIMEZONE:America/New_York BEGIN:VEVENT UID:ead297be-f93d-43e0-bd5a-5010832238ee@360exp.net SEQUENCE:29842586 DTSTAMP:20260928T014000Z LAST-MODIFIED:20260928T002655Z DTSTART:20261108T003000Z DTEND:20261108T045900Z SUMMARY:William Basinski: 25 Years of Disintegration Loops LOCATION:First Unitarian Church DESCRIPTION:Honoring 25 of years of the composer’s ambient masterwork ‘ The Disintegration Loops’.\n\nWilliam Basinski is a classically trained musician and composer who has been working in experimental media for over 40 years in NYC and Los Angeles. Employing obsolete technology and analogu e tape loops\, his haunting and melancholy soundscapes explore the tempora l nature of life and resound with the reverberations of memory and the mys tery of time.\n\nHis epic five-hour masterwork\, The Disintegration Loops \, received international critical acclaim and is now universally consider ed one of the most important and influential ambient albums of all time. T he Disintegration Loops deluxe vinyl box set reissue (Temporary Residence Ltd.\, 2012) was awarded a perfect 10 score on Pitchfork. Multimedia insta llations and films made in collaboration with artist-filmmaker James Elain e have been presented in festivals and museums worldwide\, and his concert s are presented to sold-out audiences across the world. Basinski was chose n by Music Director ANOHNI to create music for the Robert Wilson opera\, T he Life and Death of Marina Abramović\, which had its world premiere at t he Manchester International Festival in July 2011 and toured Europe in 201 2 and North America in 2013. Orchestral transcriptions of The Disintegrati on Loops by Maxim Moston have been performed at The Metropolitan Museum of Art\, Queen Elizabeth Hall\, and La Batie Festival in Geneva\, Switzerlan d\, Dark Mofo Festival in Hobart Tasmania\, and most recently Pitchfork Mi dwinter Festival with the Chicago Philharmonic. Basinski is currently tour ing the world in support of The Disintegration Loops — Arcadia Archive E dition\, and preparing a new album for release in late 2026\, Passing the Cup of Sorrows.\nclaire rousay\n\nclaire rousay’s music cascades from a well of documented experience\, reflections of the past that compose the p resent. A prolific multi-instrumentalist\, producer\, and composer\, rousa y gracefully crafts boundaryless music. From her frequent and acclaimed co llaborations to her film scoring\, from her own compositions to her solo p op work\, rousay’s music is delicate yet powerful\, carefully constructe d with a casual intimacy. rousay collages a wealth of found sounds and fie ld recordings with earthy strings\, stately piano\, and processed instrume ntation\, all of which trace the outlines of memories and distinct impress ions and create a complex constellation of feeling. a little death illustr ates rousay’s ability to sculpt sonic microcosms from disparate raw mate rials\, worlds where sound and feeling are one in the same. Shaped around field recordings she captured at dusk\, the album is an homage to the gent le drifts and lurking disquiet of twilight.\n\nThe process of composing a little death felt like a homecoming for rousay after the more pop-oriented song forms of 2024’s sentiment. “sentiment was a different way of wor king that helped refresh my music making habits and usual flow\,” rousay notes. “This record is a return to what I see as my core solo practice \, a re-dedication to those methods of working which I’ve found most ali gn with what I envision my music or sound to be.” Intended as a part of a trilogy along with a heavenly touch and a softer focus\, the pieces on a little death sprout from a wellspring of tactile samples and granularly p rocessed sounds. The use of sounds recorded from her life outside of the s tudio remains a throughline in her work. While the previous two albums use d field recordings as the primary sound source or central figure in the co mpositions\, here they act more as springboards\, timbrally intertwining w ith live instruments like additional voices in a chamber ensemble. Capture d as daylight fades into memory\, the sounds give a subtler diaristic impr ession\, the recordings occupying a more elemental space which give moment s of absolute clarity a shine in the dim gloaming.\n\nrousay’s practice on a little death highlights her sensitivity to nuance\, as moments of cha nce are deftly interwoven into compositions with intent. The album playful ly combines elements with varied recording fidelities\, rousay adding new layers of textural complexity with the juxtaposition of found sounds\, mel ody and harmony. “Blending fidelities comes from how I started making mu sic on my own\,” says rousay. “I started recording myself as a teenage r\, and I needed two microphones and I had one real one and then my laptop . I’d use them both and find a way to make them work together. These pie ces share a lineage with that\, using what’s available.” Bristling ele ctronics and violin harmonics are dotted by fidgety rustlings on “condit ional love”. The metallic grinding and percussive clangs of “just”\, featuring M. Sage\, breathe sparks into droning clarinets and chordal pia no figures. Recent and frequent collaborators like more eaze\, Gretchen Ko rsmo\, Andrew Weathers\, and Alex Cunningham act as a make-shift sample li brary across the record\, rousay manipulating performances old and new int o elements that fit into her orchestrations. The lonesome acoustic guitars rousay employs on “night one” and “somewhat burdensome” recall th e pop forms of sentiment but live deeper in the fabric of her compositions \, woven by her dynamic arrangements.\n\nrousay’s music has evolved from confessional to conversational and excavates the rich emotional essence o f each passage. Her work as both archivist and adept arranger and orchestr ator merge sublimely into deeply honest and engrossing music. The pieces o f a little death are charged with rousay’s voice while giving space for new interpretations and contexts. The shifting atmospheres act as fragment s of perspective\, each ecstatic instance opening itself to new perception s. On a little death\, rousay’s blend of pop sensibility and composition al acumen turn abstracted sounds into tangible feelings\, its warm\, glimm ering glow coalescing sensually with the darkness.\n\nBoletos: https://ra. co/events/2538338 URL;VALUE=URI:https://360exp.net/events/ead297be-f93d-43e0-bd5a-5010832238e e STATUS:CONFIRMED END:VEVENT END:VCALENDAR