Introducing Inventory: Chorus Grant
The Inventory Series is an ever-growing stockhouse of information and inspiration. An appreciation of all things creative. A place where creative professionals share resources for discovery and inspiration: the tools of creation.
This is Chorus Grant's Inventory:
"A friend of mine once showed me an actual physical deck of cards with the inscription on the box, “Oblique Strategies”. Not knowing what they were I was intrigued to learn that they were made by godfather of ambient music, Brian Eno. Created as a means to promote creativity and overcome hurdles/blocks in the creative process, they are a fun and interesting kind of magic to throw in the pot whilst engulfed in the creation of something new."
"How this next piece I want to share with you entered my life, I am not sure. I believe I first encountered it featured on a list of the 50 most important ambient works of all time. I'd now like to draw your attention to William Basinski and his song “dlp 1.1” from The Disintegration Loops. This piece is dear to me for several reasons, and inspiring for just as many. The power of repetition - repetition as an intensifier - that which disappears makes way for something new - allowing this piece to fill your apartment, house, room or headphones and letting it permeate your mind sets your thought processes free - listening to this creates fertile grounds for strolling through your own sentiments - ideas settle and new take form.
The story behind the piece goes as follows (here I am paraphrasing information found online). In the 1980’s Basinski made a series of tape-loops consisting of snippets of music he recorded directly off a radio station playing easy listening. Twenty years later he decided to transfer the tapes to a digital format. He started his recorder, connected it to the computer and left it running. Returning a short while later he noticed that the old tape was gradually crumbling as it played! Literally dissolving and falling apart - the disintegration of the tape was not only visible to the eye but also hearable to the ear in the sense that the music that entered the computer was gradually tearing at the seams and the tones and harmonies vanishing more and more for each loop cycle."