Tim Hecker has spent the last decade inhabiting a unique intersection between noise, dissonance, and melody. In his varied and celebrated works, digital and organic sources tightly intertwine. The result is a hybrid aesthetic that recalls electronic abstraction and psychedelic American minimalism.
Across his 15-year career he has moved through shades of reflective electronic noise, experiential sound design, and modern composition with a deft and distinguished touch. Cultivating enigmatic, uneasy soundscapes, the beauty and crush of Hecker's sonically processed noise has been compared to "tectonic colour plates" and "cathedral electronic music." Tim Hecker is an extensive, vigorous live performer, and the immense power and menace of his live shows makes him a contemporary master of volume and texture.
Hecker's ninth official full-length, Konoyo ("the world over here") was largely recorded during several trips to Japan where he collaborated with members of the gagaku ensemble Tokyo Gakuso, in a temple on the outskirts of Tokyo. Inspired by conversations with a recently deceased friend about negative space and a sense of music's increasingly banal density, Hecker found himself drawn towards restraint and elegance, while making music both collectively and alone.
As with the Icelandic choir he arranged on 2016’s Love Streams, the heights of Hecker’s talent emerge in his manipulation of source material, bending and burnishing it into fantastical new forms. Keening strings are stretched into surreal, pixelated mirages; woodwinds warble and dissipate as fractal whispers of spatial haze; sparse gestures of percussion are chopped, isolated, and eroded, like disembodied signals from the afterlife. Both in texture and intent, Konoyo conjures a somber, ceremonial mood, suffused with ritual and regret. Visions flutter and fade; dreams gleam and decay.
This artist is co-curated with Reworks as part of We Are Europe, and presented with support from the Embassy of Canada.