The track is rhythmic, like a municipal light rail passing in steady rain on a quiet street. There’s a crunch to it, the leaden beat of something hit repeatedly yet resilient enough to show little if any resulting damage. Through headphones, the noise expands; it comes to span the sonic periphery despite its inherent delicacy. You hear the beat, but you listen through it as well, first to the broader, textural noise, and then to the beats within the beat, to the shape of the beat. In time, the beat regains its centrality, and new questions emerge: Does the beat give a little, sway a little, on occasion? Is there a nudge toward development? What in fact is it?
It’s the sound of a locked groove on a vinyl recording, taped by John Dombroski not only for posterity, enjoyment, and analysis, but also with the intention that others might rework it, might make music from the absensce of music. We know from Brian Eno and Peter Schmidt’s Oblique Strategies card deck that “Repetition is a form of change.” In Dombroski’s gambit, it is also a forum for change. In his brief accompanying note he states:
Record player needle in locked groove repeats (~1.8 seconds) 55.5 times and resolves. NOTE: (If you would like, go on and make a remix of this sound and share it – I’d love to hear).