One of the universal questions that has been tossed around quite frequently since the early naughties has been "What were you doing when 9-11 happened?" Some of us who were in the middle of a long and energy-draining day suddenly engendered this burst of adrenaline; shocked and completely distorted. Others, who were in the middle of important matters paused, stopped and became silent. And since, 9-11 has become a catalyst for unity and remembrance, as opposed to revenge.

When William Basinski released his fourfold of The Disintegration Loops at the start of the last decade, a new collection of meanings, feelings and ideologies formed around the aftermath of the disaster.

The fact that Temporary Residence furnished a maximal edition of the Loops - nine LPs, five CDs, a full-length DVD and a 144-page book of liner notes - completely enlarged its symbolic, cultural and ideological background of the recordings. What was once a bunch of taped samples from an easy-listening radio station, Basinski brought it upon himself to take these simple recordings into a more complex, yet simplistic globular fold musical excellence.

Doing it the ancient-school way, Basinski left these samples on a tape loop, went away for a while, did the ordinary everyday things and returned, only to find these simple classical loops gritted, faded and dissolved as time had progressed. Like Eno's Music For Airports and the Sonic Seasonings of Wendy/Walter Carlos, the finished product was elongated and lengthy, however not monotonous. Not only was the finished product an explosively much longer extension of the short samples, this kind of alteration created a different musical mixture. Thus, a new context was formed, encircling 9-11 and the ulterior motives behind the music.

'dlp 1.1', in its deepest intricacy, is almost like the anthem of the existentialist; the subtle fade-in, the rambunctiously chamber-like forty minutes, all ending with the deteriorating finale of the piece. Essentially, the loop itself almost represents the physical life of anything. And the fact that Basinski decided to minimally replicate some tracks in a selection of nine pieces, that could signify what is beyond the physicality of life. This would signify the kind of existential ulterior meanings of the piece, which would be moot and highly debatable.

Thematically, each loop is different. Tracks 'dlp 1.1', 'dlp 1.2' and 'dlp 1.3' are, in essence, the same in sound, however not in texture. The former rubbles like sand-paper, softens and persists with its gritty nature, though powerfully ambient. Lightly poignant, this loop appears as the moment of death, discarding the moroseness and delivering a numb euphoria. The fact that the final two loops of its kind are positioned at the end of the fourfold could suggest a life recycled or replayed.

The sound of panic begins to settle in with the heavily grungy tape loop of 'dlp 2.1' and '2.2', exhuming a high-pitching lead that overshadows the brassy background, and is as timely as a firing squad. 'dlp 3', much like the first set of loops, is roughly unscathed of that trademark disintegration and evokes a psychedelic velvety feel. Trippy and softly percussive, 'dlp 4' is more animate, with more tempo and conjures up a concoction of a DJ Shadow-Tangerine Dream collaboration. And much alike that, 'dlp 5' and '6' freshens the entire collection with ecstatically oozing layers of hazy reverbs.

Whatever context someone has this set of loops blaring in, or whatever way someone is reading into Basinski’s masterpiece, the Loops can also be appreciated at face value, plainly in its musical context. However, silence is the cynosure and the exemplary key to enjoying a thorough listen. Whether it is in a subway, or even at home resting, The Disintegration Loops is beautifully moulded by everyday sounds adjoining to Basinski’s samples. Whether it is a plane overhead, hail crashing against a thin window, or kids laughing at cartoons downstairs, the virtuosity of these ambient tracks rests in its irremovable soundscape, no matter what environment it is played in.

Temporary Residence's re-release box set of Basinski's magnum opus brings the eleven-year-old loops back to modernity, as well as solidifying its presence as one of the finest examples of modern experimental music.