There was nothing new about highlighting the sounds of disintegration when William Basinski released his epic Disintegration Loops 10 years ago. Ligeti’s “Poeme Symphonique” and Stockhausen’s “Hymnen” come to mind immediately as cases in which entropy breeds new patterns and, consequently, radically new structures from old. What was novel and quite poignant is the now well-known story of how Basinsky arrived at the composition itself. In transferring 20-year-old loops from analogue to digital format, the tapes decayed, and Basinski captured the phenomenon in its rawest state as the oxide literally flaked, fell off and became dust. Yet, the sounds themselves were tonal and atonal by turn, the net result fusing beauty and its loss in a language all its own.