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"On their own Three Poplars label Mirror offer one of their favourite compositions by William Basinski. A Red Score In Tile is a tape composition from 1979 and was inspired by James Elaine's painting of the same title. Limited Edition of 600 copies. '.. something was shining in a long narrow passageway between the theatre and an adjacent building. This was where he had gone. Illumination was there and sounds. From around the corner's edge a grotesque light was trickling out, the first intimations of an ominous sunrise over a dark horizon. I dimly recognized this colored light, though not from my waking memory...'"
"On their own Three Poplars label Mirror offer one of their favourite compositions by William Basinski. A Red Score In Tile is a tape composition from 1979 and was inspired by James Elaine's painting of the same title. Limited Edition of 600 copies. '.. something was shining in a long narrow passageway between the theatre and an adjacent building. This was where he had gone. Illumination was there and sounds. From around the corner's edge a grotesque light was trickling out, the first intimations of an ominous sunrise over a dark horizon. I dimly recognized this colored light, though not from my waking memory...'"
William Basinski's A Red Score in Tile is a tape composition from 1979, here brought to light in an attractive vinyl edition by the Three Poplars label, run by Christoph Heemann and Andrew Chalk. Inspired by James Elaine's painting of the same title, Basinski created this extremely minimal composition. The piece takes up both sides of the record, and since it is comprised of a single loop repeated for the entire duration, my first thought is that it might have been better suited for release on CD. But perhaps having that second side—dividing the listener's attention by insisting on an interlude—is deliberate, serving a specific purpose. The piece is quiet, muted, mysterious; a few chords on piano, a slow tape loop, repeated from start to finish. Perhaps nothing happens during the duration of the piece, or perhaps there are slight shifts, disintegrations, changes. If there are, they happen so subtly and so gradually that I didn't notice as I listened, even though my thoughts were captivated all the way through. The entire recording, sounding quite shaky and distorted, is marked by a certain fragility, as if the tape itself is going to break apart at any moment. After listening, you resurface to a world that still seems to sound like this bewitching composition, resounding off the walls, suspended quietly in the air, in the very air you breathe. [Richard di Santo]
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Manufacturer: Three Poplars
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