‘Do you remember me phoning and saying, ‘Get over here! You won’t believe what’s happened!’” William Basinski is reminiscing with his old friend Anohni about the summer of 2001, when he made a startling discovery. Out of work and at a loose end, the experimental composer had decided to digitise some recordings he’d made in the early 1980s – snippets of orchestral music and muzak he found on shortwave radio stations. He was planning to add his own instrumentation, but as the tapes started playing on a loop he noticed something else was happening: the music was gradually degrading. The recordings were so old that the iron oxide particles were falling off the tape as they played. Soon, there would be nothing left but crackles and then silence.
It was every musician’s worst nightmare. But for Basinski it was like striking gold.
