Praise be to 4AD, who unveil a Jesus arms-worthy new suite of soaring avant and neo-classical reveries by Tim Hecker, on return from unusually long hiatus well spent fine tuning the sound of Love Streams.
“Hecker’s newest opus, Love Streams, takes as its cue from the avant-classical orchestration and extreme electronic processing of his previous full-length, 2013’s Virgins, but shaped into more melancholic, ultraviolet hues. Its power accrues as it unfolds. Inspired by notions of 15th century choral scores transposed to an artificial intelligence-era language of digital resonance and bright synths, the album was assembled gradually, with layers of studio-tracked keyboards, choir and woodwinds being woven into the mix, then molded and disfigured through complex programming. The effect is similar to hearing some ancient strain of sacred music corrupted by encryption. Hecker admits to thinking about ideas like “liturgical aesthetics after Yeezus” and the“transcendental voice in the age of auto-tune” during its creation.”
View more
Praise be to 4AD, who unveil a Jesus arms-worthy new suite of soaring avant and neo-classical reveries by Tim Hecker, on return from unusually long hiatus well spent fine tuning the sound of Love Streams.
“Hecker’s newest opus, Love Streams, takes as its cue from the avant-classical orchestration and extreme electronic processing of his previous full-length, 2013’s Virgins, but shaped into more melancholic, ultraviolet hues. Its power accrues as it unfolds. Inspired by notions of 15th century choral scores transposed to an artificial intelligence-era language of digital resonance and bright synths, the album was assembled gradually, with layers of studio-tracked keyboards, choir and woodwinds being woven into the mix, then molded and disfigured through complex programming. The effect is similar to hearing some ancient strain of sacred music corrupted by encryption. Hecker admits to thinking about ideas like “liturgical aesthetics after Yeezus” and the“transcendental voice in the age of auto-tune” during its creation.”
Praise be to 4AD, who unveil a Jesus arms-worthy new suite of soaring avant and neo-classical reveries by Tim Hecker, on return from unusually long hiatus well spent fine tuning the sound of Love Streams.
“Hecker’s newest opus, Love Streams, takes as its cue from the avant-classical orchestration and extreme electronic processing of his previous full-length, 2013’s Virgins, but shaped into more melancholic, ultraviolet hues. Its power accrues as it unfolds. Inspired by notions of 15th century choral scores transposed to an artificial intelligence-era language of digital resonance and bright synths, the album was assembled gradually, with layers of studio-tracked keyboards, choir and woodwinds being woven into the mix, then molded and disfigured through complex programming. The effect is similar to hearing some ancient strain of sacred music corrupted by encryption. Hecker admits to thinking about ideas like “liturgical aesthetics after Yeezus” and the“transcendental voice in the age of auto-tune” during its creation.”
Praise be to 4AD, who unveil a Jesus arms-worthy new suite of soaring avant and neo-classical reveries by Tim Hecker, on return from unusually long hiatus well spent fine tuning the sound of Love Streams.
“Hecker’s newest opus, Love Streams, takes as its cue from the avant-classical orchestration and extreme electronic processing of his previous full-length, 2013’s Virgins, but shaped into more melancholic, ultraviolet hues. Its power accrues as it unfolds. Inspired by notions of 15th century choral scores transposed to an artificial intelligence-era language of digital resonance and bright synths, the album was assembled gradually, with layers of studio-tracked keyboards, choir and woodwinds being woven into the mix, then molded and disfigured through complex programming. The effect is similar to hearing some ancient strain of sacred music corrupted by encryption. Hecker admits to thinking about ideas like “liturgical aesthetics after Yeezus” and the“transcendental voice in the age of auto-tune” during its creation.”
Back in stock.
Out of Stock
Praise be to 4AD, who unveil a Jesus arms-worthy new suite of soaring avant and neo-classical reveries by Tim Hecker, on return from unusually long hiatus well spent fine tuning the sound of Love Streams.
“Hecker’s newest opus, Love Streams, takes as its cue from the avant-classical orchestration and extreme electronic processing of his previous full-length, 2013’s Virgins, but shaped into more melancholic, ultraviolet hues. Its power accrues as it unfolds. Inspired by notions of 15th century choral scores transposed to an artificial intelligence-era language of digital resonance and bright synths, the album was assembled gradually, with layers of studio-tracked keyboards, choir and woodwinds being woven into the mix, then molded and disfigured through complex programming. The effect is similar to hearing some ancient strain of sacred music corrupted by encryption. Hecker admits to thinking about ideas like “liturgical aesthetics after Yeezus” and the“transcendental voice in the age of auto-tune” during its creation.”
Available To Order (Estimated Shipping between 7-14 Working Days)
This item is to the best of our knowledge available to us from the supplier and should ship to you within the time-frame indicated. If there are any unforeseen issues with availability we will notify you immediately
Praise be to 4AD, who unveil a Jesus arms-worthy new suite of soaring avant and neo-classical reveries by Tim Hecker, on return from unusually long hiatus well spent fine tuning the sound of Love Streams.
“Hecker’s newest opus, Love Streams, takes as its cue from the avant-classical orchestration and extreme electronic processing of his previous full-length, 2013’s Virgins, but shaped into more melancholic, ultraviolet hues. Its power accrues as it unfolds. Inspired by notions of 15th century choral scores transposed to an artificial intelligence-era language of digital resonance and bright synths, the album was assembled gradually, with layers of studio-tracked keyboards, choir and woodwinds being woven into the mix, then molded and disfigured through complex programming. The effect is similar to hearing some ancient strain of sacred music corrupted by encryption. Hecker admits to thinking about ideas like “liturgical aesthetics after Yeezus” and the“transcendental voice in the age of auto-tune” during its creation.”