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As an example, check out this dope X-Ray and infrared examinations of the Gent Altarpiece, Closer
to Van Eyck. Jamila Woods played Webster Hall with Uwade (pics, setlist). It’s a question of how
you treat the sound, how you process it, how you deal with it effectively. Since the release of 2011's
Ravedeath, 1972, a Canadian named Tim Hecker has unofficially held court as ambient music's
willowy pope. An anxiety so precious, the textural world tender in it’s terror as one crosses the
border. He then turned his attention to ambient and glitch music, entering that aerial and nocturnal
world to eventually become one of its leading pioneers. Saying no will not stop you from seeing our
ads, but it may make them less relevant or more repetitive. The track is immersed in a thick fog and a
variety of muffled, tonal bursts. January 2024 MINU: Festival for Expanded Music 2023 8. I wasn’t
ready to be there, I wasn’t prepared enough, but those spaces of intentional unpreparedness, having
no expectations, and an empty mind, those third-eye kind of zones are some of the best. With
warping distorted synths, rattling sub bass and punching, percussive piano, he expresses in some
points of the album the attacking and aggressive and restless nature of humans. I want music to grab
me by the ear and shout until my brain and my heart and my stomach can't take anymore. I’ve cut
my teeth as a trained historian but I don’t practice that anymore.”. The icy fingers crawl inch by inch
down the protrusion of an illusory, pale spine, sci-fi synth buzz in climatic drive. It was an
extraordinary show, one which you don’t easily forget, so my excitement levels for seeing Hecker
again tonight are pretty, pretty high (despite it being a Monday night; seriously, I vote for a Monday
night gig ban, it’s just not right, who’s with me?!). Hecker, an artist who works almost exclusively in
the digital realm is well aware of the digital world’s impermanence. I don’t think many or any died,
but it was this metaphor that was very potent for me. However, you can still listen with the
Bandcamp playlist at the bottom of the page. Beginning in 1996, Tim has since amassed an
incredible discography that stretches across and intertwines many of the most prominent sub-genres
of electronic music and art music. The raw material was then taken back to Hecker's studio in
Montreal for a month of mixing and finishing touches. In my day-to-day life I don’t know what the
hell I’m doing all the time. His current work is situated around electronic abstraction and the entrails
of psychedelic American minimalism. I started this blog to catalogue my discoveries in music both in
my local scene and on a global scale. You can hear the whole interview with the link above, or read
edited highlights below. I couldn’t answer the man at that moment but the answer is: a lot. The
majority of the album was recorded in Japan and is inspired by traditional Japanese gagaku music,
pieces of which Hecker has included in the tracks, from his collaboration with gagaku ensemble
Tokyo Gakuso. It’s got an uneasy feeling to it, with clashing, chaotic noises that threaten to turn into
an unorganized mess, but Tim always brings it back down to earth before that can happen. But
performed on its own in a bare state is boring. It’s probably not on the mind of his listeners either.
With a slight acknowledgment of the adoring, cheering crowd, he’s gone, back into the darkness
where he belongs.
I loved how denatured and alien it was, the way he blended that with more traditional orchestral
instrumentation and treatments. Your current browser isn't compatible with SoundCloud. I just let
him go crazy with those general thematics. It’s a question of how you treat the sound, how you
process it, how you deal with it effectively. What role does visual art play in your vision, both
musically and aesthetically. All the colors get smeared together, printed and that’s just what it is.”. I
started this blog to catalogue my discoveries in music both in my local scene and on a global scale. It
just kind of happened when I was out of the texts, out of school. The ambient drone in blood-clot
stop haunts in alien abduction, a cautious examination of the desolation and simultaneous wonder in
a new world. It will not store, save or collect personal information. What’s more important is the way
you express yourself. He was extremely popular” says Samantha Blickhan, Phd Candidate at Royal
Holloway, University of London whose research focuses on notation and palaeography of medieval
song. “His style was copied so often and diligent record keeping was next to non-existent back then.
Tim Hecker will tour North America and Europe with the Konoyo Ensemble, as well as playing a
handful of solo shows. With its simultaneous vital importance and trivial pointlessness, music can
sometimes become overwhelming. Gagaku is a profound referent, both for Hecker and in the
abstract. It is molasses-paced, agonizing, and wounded, capitalizing on gagaku's capacity to
hypnotize and unsettle, but stripped of its usual elegant carriage and macerated to sludge. Here,
Hecker's foundation is a type of Japanese imperial court music titled gagaku, performed and recorded
alongside Tokyo Gakuso, an ensemble gagaku orchestra, during several visits to a temple fringing
Tokyo. We want to see what these MIDI files in another artist’s hands would sound like so below is
an exclusive track from Hague producer and RE:VIVE alumni Mill Burray. I realized that I don’t
need to push the line of obfuscation as hard as I used to in the past. In my day-to-day life I don’t
know what the hell I’m doing all the time. And I thought long and hard about an explanation of how
music came to me as a child in the form of a Green Day CD on Christmas evening, and how it
helped me through tougher times and made the better times better, but the truth is that's not the
reason that I love music. I feel it's important first and foremost to introduce you, the reader, to who I
am and where my love for music and the culture that surrounds it stems from. At first I was
bemoaning the lack of lights, the lack of something to focus on, until I realised, much like in that
church a few years ago, the only thing to focus on at a Tim Hecker gig is the music. Essential: a
masterpiece of progressive rock music(10%). Studying philosophy, you encounter works and at some
point I did a lot of art history, but there’s just points in your life when you zone in hard on things.
Like a feeling that guides how the music should sound. Any musician who has played around with
the descending F-E step over a C major chord will admit it’s an interesting melody. The album in
droning, it stretches and reverberates and wales as it goes on and on, further and further destroying
itself. You were there for Virgins and Ravedeath 1972 and you recorded Love Streams there as well.
With a slight acknowledgment of the adoring, cheering crowd, he’s gone, back into the darkness
where he belongs.
But performed on its own in a bare state is boring. Beginning in 1996, Tim has since amassed an
incredible discography that stretches across and intertwines many of the most prominent sub-genres
of electronic music and art music. Or, I made this joke, “What would Chewbacca do if he swallowed
a trumpet?” Try to do that, or try to imagine you’re overloaded with sleep medication or cold
medication and you’re tripped out. A 2014 survey stated that only 10% of all of Europe’s cultural
heritage assets are digitized, which is calculated to be around 300 million objects. It’s got an uneasy
feeling to it, with clashing, chaotic noises that threaten to turn into an unorganized mess, but Tim
always brings it back down to earth before that can happen. And sure, the lo-fi humming of self-
produced midwest emo found on Bandcamp soothed my angsty teen soul during the earlier years of
Highschool. They choir has been contorted and spliced as if they were a passenger on the USS
Eldridge. Hecker har med “Konoyo” atter skabt et v?rk, man kan lade sig omslutte af. Tim Hecker’s
Spiritual Transition Through Life And Death In Konoyo. Visibility is low, so much so that no one
really notices when Hecker appears on stage, already lining up the first drones of the set as people
still chat around me, and with no light show to speak of (there are lights set up, but they are
sparingly used throughout, so little in fact that they’re not really worth mentioning, soz) it’s difficult
to notice what to focus on. I remember having this really weird, special time in this wind-bashed
hotel. In his most visceral and primal work to date, Tim experiments with how physical he can make
a sound. Konoyo is sound given to the lingering strangeness of trying to make contact with that stark
relief — the toppling sensation of reaching out, encountering a void, and clutching at nothing. I felt
empowered by working with these things I had blocked off, like conventional song tropes, problems
with rhythm and voice, and meaning. In any event, as Hecker has secured the title as a top-tier
curator for creating alien textures and digital transmissions, Anoyo ’s core basis revolves around a
tame one. January 2024 MINU: Festival for Expanded Music 2023 8. I close my eyes and let it all
wash over me, focusing on nothing but the sound waves flowing around me, and despite the ferocity
of it I find it incredibly beautiful. I've chosen to highlight these two albums in particular because I
feel that they contrast the most with his most recent work, and exemplify the range Tim Hecker
holds in his music, whilst remaining within the genre. I'll give my insight and opinion and from time
to time flex my creative writing muscles that I've been itching the stretch. Originally inspired by
15th-century choral arrangements, Hecker invited Oscar-nominated Johann Johannsson to recompose
the ancient scores and then had the Icelandic Choir Ensemble perform the results. This has caused
quite the headache for scholars in terms of discerning authentic Josquin pieces versus emulators and
his idiosyncratic compositional style adds to this challenge.”. You have to find the right choral
ensemble that is loose. There was this sort of melancholy with some of the archivists who were
desperate for contact or people to engage with the material that wasn’t being sorted through. At first
I was bemoaning the lack of lights, the lack of something to focus on, until I realised, much like in
that church a few years ago, the only thing to focus on at a Tim Hecker gig is the music. The
Canadian producer’s ambient sculptures, carved both by megalithic drones and delicate classical
instruments, like pianos and church organs, will be erected at Hard Club on October 26, in one of the
three Post-Amplifest Sessions. I came back into art on my own terms, maybe in my 20s. He then
turned his attention to ambient and glitch music, entering that aerial and nocturnal world to
eventually become one of its leading pioneers. The icy fingers crawl inch by inch down the
protrusion of an illusory, pale spine, sci-fi synth buzz in climatic drive. His current work is situated
around electronic abstraction and the entrails of psychedelic American minimalism. I spent months
alone in rooms with archivists going through pipe organ historical documents.
Two years later, Tim Hecker releases Virgins (2013), this is when I truly fell in love with his work.
And sure, the lo-fi humming of self-produced midwest emo found on Bandcamp soothed my angsty
teen soul during the earlier years of Highschool. For instance, Snapchat is the antithesis of
preservation by design. All mp3 files are posted only for promotion of the artist and for a short
period of time. I’ve cut my teeth as a trained historian but I don’t practice that anymore.”. I want
music to grab me by the ear and shout until my brain and my heart and my stomach can't take
anymore. Before I went, I had a bunch of shitty tracks I was half working on. The bass rumbles
through the entire building, up through my legs and right into my chest as layer upon layer of
electronic wizardry is added to his wall of sound. He then turned his attention to ambient and glitch
music, entering that aerial and nocturnal world to eventually become one of its leading pioneers.
Mali Velasquez played Union Pool with Rom Com (pics). The transition between life and death
spiritual both in terror and an understanding that lies with the fading ribcage. The beauty is that half
of these people were hungover and the other half were eager to do this. You can hear the whole
interview with the link above, or read edited highlights below. Its tracks quietly hang in space where
Hecker feeds sound through various outlets as he dismantles it. Josquin did it in the early 1500s and
now in 2016, Hecker has done it adding his name, whether he likes it or not to a strong lineage of
composers. It’s probably not on the mind of his listeners either. It is intensely affecting drone-style
music, where bamboo mouth organs, flutes, and double-reeded aerophones wail in shrill fits and
starts. I couldn’t answer the man at that moment but the answer is: a lot. Gagaku is a profound
referent, both for Hecker and in the abstract. But performed on its own in a bare state is boring. And
I wanted to transform that and I think I got it there. In his most visceral and primal work to date, Tim
experiments with how physical he can make a sound. But listening to the ways in which Hecker
seizes material where he sculpts through digital thrums and empyrean sprawl, Anoyo remains on the
cusp where Hecker takes that vision slightly further than before as his most musing LP to date. In
China last year, three different choirs celebrating the Chinese dream had their stages collapse by
accident, 80 people plummeted. When I was doing my Phd I was around a bunch of really rich
archives and there was no one around. My misgivings about it as a suitable venue for the majestic
music about to unfold are quickly dismissed as it turns out for tonight’s performance it’s just about
as perfect a venue as you can get. Anoyo was recorded in the same sessions as Konoyo with Tokyo
Gakuso, formed through his multiple trips to Japan. The track is immersed in a thick fog and a
variety of muffled, tonal bursts. I doubt that many people listening to Love Streams know that
Josquin took Missa Pange Lingua from Thomas Aquinas who wrote Pange Lingua 300 years before
Josquin (I didn’t). “It makes the whole idea of musical immaculate conception more interesting” says
Hecker. I don’t think many or any died, but it was this metaphor that was very potent for me.
It’s a question of how you treat the sound, how you process it, how you deal with it effectively.
Jamila Woods played Webster Hall with Uwade (pics, setlist). And this brings me to where I would
truly, and after all this rambling finally, like to begin. I felt empowered by working with these things
I had blocked off, like conventional song tropes, problems with rhythm and voice, and meaning. In
any event, as Hecker has secured the title as a top-tier curator for creating alien textures and digital
transmissions, Anoyo ’s core basis revolves around a tame one. However, you can still listen with the
Bandcamp playlist at the bottom of the page. I wanted to resist the temptation to overload the music
with layers and layers of hyper-edited texture, as if that would help the piece become more whole.
It's the way the crash of a cymbal can splash cold water and the way the pulse of the bass can punch
you in the stomach. It’s all over in 50 minutes, but it seems like about half of that, it’s a mesmerising
experience. I rented a car and drove northwest to this glacier and little hotel by the edge of the sea.
The album is filled with the constant chiming of piano keys, sometimes layered, sometimes muted,
but as if it's not a human at those keys, perhaps a human who has lost it's humanity, but nonetheless
the album is littered with the feeling of haunted-ness. I thought that this spotlight in addition to a bit
of my background would give a little insight into my motives, my feelings and I suppose most
importantly my purpose. Like a feeling that guides how the music should sound. But when it comes
to paintings for instance, advances in x-ray and infrared investigations have not only taught us a lot
about art, it’s also just cool. It’s almost oppressive, the sheer weight of sounds he’s building up, and
it quickly becomes apparent that the dark box we’re in with it’s incredible sound is very much part of
the performance, suffocating us with its brutal starkness. Not unlike what Hecker achieved in the
pairing of Ravedeath, 1972 and Dropped Pianos, Konoyo and Anoyo are parallels. An anxiety so
precious, the textural world tender in it’s terror as one crosses the border. The ambient drone in
blood-clot stop haunts in alien abduction, a cautious examination of the desolation and simultaneous
wonder in a new world. Konoyo is sound given to the lingering strangeness of trying to make
contact with that stark relief — the toppling sensation of reaching out, encountering a void, and
clutching at nothing. My name is, Andrew Treleaven and I am an 18 year old music enthusiast born
in Toronto, Canada currently living in London, UK. With a slight acknowledgment of the adoring,
cheering crowd, he’s gone, back into the darkness where he belongs. It’s a battle with your rational
brain that threatens to take over, to keep that voice of reason, structure, and understanding at bay and
go into a space where you’re not aiming for any outcome—just zone into creating something where
you’re not thinking, “is this an album piece, is this going to be used for something?” It’s like, who
cares. Why should I care about what I can get from the internet?” asks Hecker. Hecker took the
choir’s samples and finished recording the album in Reykjavik, the same location in which he
completed 2011’s Ravedeath, 1972 and 2013’s Virgins. Three songs in (it’s hard to discern which
tracks he plays, although there are definitely some remixed ones present from his outstanding new
album Love Streams ) there are drum stabs so powerful that they genuinely feel like they are
knocking me back slightly, puncturing the pretty twinkling synths he’s built up amongst the bass and
puncturing my chest. Hecker, an artist who works almost exclusively in the digital realm is well
aware of the digital world’s impermanence. It is molasses-paced, agonizing, and wounded,
capitalizing on gagaku's capacity to hypnotize and unsettle, but stripped of its usual elegant carriage
and macerated to sludge. We easily found openly licensed scores of the work. When asked about his
own preservation and archiving practices he’s quick to admit that they’re pretty bad. The album’s
vocal samples are most certainly electronically distorted and warped, but they are also integral
aspects of the experimental soundscape.