Tim Hecker exchanges bombast for intimacy on his follow-up to 'Ravedeath, 1972' and his 'Instrumental Tourist' with Daniel "OPN" Lopatin.
Using the gristly, naked grain and off-key, out-of-phase accents of woodwinds, piano and synthesizer played by an ensemble including Ben Frost and Valgeir Sigurdsson, and heightened by his studio alchemy, Hecker highlights tense, almost fraught relationships between all involved with visceral, keening dissonance approaching a narcotic potency when experienced over the full duration of the album.
He makes allusions to the ascetic, theological aspiration of early minimalism yet pulls back from full blown prostration, instead preferring a more impressionistic approach focussed on capturing atmosphere, sensation and synaesthetic qualities and connotations. For us, the results are more richly satisfying and intimately romantic than being punched in the face with blooming harmonics that scream "bow down, hear how f**king beautful I am!". ..
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Tim Hecker exchanges bombast for intimacy on his follow-up to 'Ravedeath, 1972' and his 'Instrumental Tourist' with Daniel "OPN" Lopatin.
Using the gristly, naked grain and off-key, out-of-phase accents of woodwinds, piano and synthesizer played by an ensemble including Ben Frost and Valgeir Sigurdsson, and heightened by his studio alchemy, Hecker highlights tense, almost fraught relationships between all involved with visceral, keening dissonance approaching a narcotic potency when experienced over the full duration of the album.
He makes allusions to the ascetic, theological aspiration of early minimalism yet pulls back from full blown prostration, instead preferring a more impressionistic approach focussed on capturing atmosphere, sensation and synaesthetic qualities and connotations. For us, the results are more richly satisfying and intimately romantic than being punched in the face with blooming harmonics that scream "bow down, hear how f**king beautful I am!". ..
Tim Hecker exchanges bombast for intimacy on his follow-up to 'Ravedeath, 1972' and his 'Instrumental Tourist' with Daniel "OPN" Lopatin.
Using the gristly, naked grain and off-key, out-of-phase accents of woodwinds, piano and synthesizer played by an ensemble including Ben Frost and Valgeir Sigurdsson, and heightened by his studio alchemy, Hecker highlights tense, almost fraught relationships between all involved with visceral, keening dissonance approaching a narcotic potency when experienced over the full duration of the album.
He makes allusions to the ascetic, theological aspiration of early minimalism yet pulls back from full blown prostration, instead preferring a more impressionistic approach focussed on capturing atmosphere, sensation and synaesthetic qualities and connotations. For us, the results are more richly satisfying and intimately romantic than being punched in the face with blooming harmonics that scream "bow down, hear how f**king beautful I am!". ..
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Tim Hecker exchanges bombast for intimacy on his follow-up to 'Ravedeath, 1972' and his 'Instrumental Tourist' with Daniel "OPN" Lopatin.
Using the gristly, naked grain and off-key, out-of-phase accents of woodwinds, piano and synthesizer played by an ensemble including Ben Frost and Valgeir Sigurdsson, and heightened by his studio alchemy, Hecker highlights tense, almost fraught relationships between all involved with visceral, keening dissonance approaching a narcotic potency when experienced over the full duration of the album.
He makes allusions to the ascetic, theological aspiration of early minimalism yet pulls back from full blown prostration, instead preferring a more impressionistic approach focussed on capturing atmosphere, sensation and synaesthetic qualities and connotations. For us, the results are more richly satisfying and intimately romantic than being punched in the face with blooming harmonics that scream "bow down, hear how f**king beautful I am!". ..
Out of Stock
Tim Hecker exchanges bombast for intimacy on his follow-up to 'Ravedeath, 1972' and his 'Instrumental Tourist' with Daniel "OPN" Lopatin.
Using the gristly, naked grain and off-key, out-of-phase accents of woodwinds, piano and synthesizer played by an ensemble including Ben Frost and Valgeir Sigurdsson, and heightened by his studio alchemy, Hecker highlights tense, almost fraught relationships between all involved with visceral, keening dissonance approaching a narcotic potency when experienced over the full duration of the album.
He makes allusions to the ascetic, theological aspiration of early minimalism yet pulls back from full blown prostration, instead preferring a more impressionistic approach focussed on capturing atmosphere, sensation and synaesthetic qualities and connotations. For us, the results are more richly satisfying and intimately romantic than being punched in the face with blooming harmonics that scream "bow down, hear how f**king beautful I am!". ..