| | Tim Hecker Haunt Me Haunt Me, Do It Again CD Tim Hecker Discography of CDs
On Haunt Me Haunt Me, Do It Again, Tim Hecker downshifts from his minimal techno alias, Jetone, to create rich, textured ambient music of the highest order. Despite the infusion of glitch elements like static and electronic interference, Haunt Me Haunt Me, Do It Again sounds deep and wide, like it was meant to bounce around a cathedral, or as an accompaniment to a planetarium show. There are nine titled pieces here spread across 20 tracks and one bleeds into the next, lending an unusual sense of continuity for an experimental electronic release of this length. Glistening drones are threaded with deliberate hiss and ghostly voices and the occasional treated piano and percussive elements crop up here and there as accents. While the tracks vary in approach and character, the overall mood is consistently one of contemplation, wonder, and awe, with vague hints of dread and violence appearing in the periphery. Picking out individual highlights is difficult because the album is so consistent, unified, and whole; suffice to say that Haunt Me Haunt Me, Do It Again is a brilliant album of subtle, evocative mood music. ~ Mark Richardson Haunt Me Haunt Me, Do It Again Music Tim Hecker Haunt Me Haunt Me, Do It Again Songs | 1. | Music For Tundra |
| 2. | Arctic Lover's Rock |
| 3. | Work of Art in the Age of Cultural Overproduction |
| 4. | October |
| 5. | Ghost Writing |
| 6. | City in Flames (In 3 Parts) |
| 7. | Borderlines |
| 8. | Boreal Kiss |
| 9. | Night Fight to Your Heart |
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Haunt Me Haunt Me, Do It Again Review
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Purchase Haunt Me Haunt Me, Do It Again CD To buy, Click on price to add to cart | Tim Hecker Radio Amor CD (2003)
Haunt Me Haunt Me, Do It Again album
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Tim Hecker's first album for Mille Plateaux, Radio Amor, follows two excellent efforts for the relatively smaller yet similarly prestigious Substractif label, and accordingly consolidates that pair into his most inclusive and presentable recording yet. It merges the haunting majesty of his debut full-length, Haunt Me Haunt Me, Do It Again (2001), with the loose conceptual framework of his follow-up EP, My Love Is Rotten to the Core (2002), and does so without being quite as overbearing as those two releases may have felt to listeners interested in simply engaging music rather than far-fetched conception. There are thus two primary sides to Radio Amor: its sounds and concepts. The sonic palette Hecker draws from here is strikingly reminiscent of his previous work. Heavily manipulated waves of drone again clash and splash against one another, often doing so with near yet subtly off synchronicity in the right and left channels. The effect is slightly disorienting, ...
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Whole Numbers Play the Basics is another triumph for Casino Versus Japan's Eric Kowalski, and if it just misses carrying the freshness and sense of imagination evident on Go Hawaii, it's a better record for being slightly less ...
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Clearly a producer with an unapologetic love for the conceptual, Scott Morgan's second album for Kranky as Loscil takes on an aquatic theme -- each track is named after a submarine. However, not a whole lot has changed in Morgan's approach from his debut. These tracks sound only a little more aqueous than the ones on Triple Point, continuing to carry wide-open spatial qualities, with the odd hint of dub occasionally thrown in for variation (with its lathery suds of dubspace, "Le Plongeur" rivals Rhythm & Sound's best work). The only significant difference is the emphasis ...
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After their breakthrough album, DEAD CITIES, RED SEAS & LOST GHOSTS, Anthony Gonzalez and Nicolas Fromageau, the collaborators in M83, parted ways. For the follow-up, BEFORE THE DAWN HEALS US, Gonzalez is at the helm, taking the swirling, evocative synth-scapes of the previous outing in tighter, more focused ...
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At the height of their powers, white-noise godheads My Bloody Valentine would be known to leave their guitars alone on-stage at the end of a performance, feeding back for up to 30 minutes while the audience was left awash in the sound of static running on static. Imagining that effect not as an end, but as a beginning, Canadian Tim Hecker offers his third album of dark grey fog (his sixth album if you count his techno background as Jetone). Starting with "Acephale," Hecker takes control of the effluvial hiss and slowly melts it down, making it into clear angelic tones on "Neither More Nor Less," fluttering waves ...
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Like much of the Red House Painters' work, OCEAN BEACH is marked by an overriding sense of despair, but Mark Kozelek, the Painters' founder and guiding force, has a way of transforming his melancholia into seduction. The record begins on the lightest of notes with "Cabezon," a languid instrumental that would sound appropriate as the opening theme for a kids' TV show. The spare, tender "Summer Dress" follows, with Kozelek's resonant voice, accompanied only by guitar and violin, conveying an almost palpable sense of longing.
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The Capitol Steps, a musical political satire group, was still a fairly new concept at the time this LP was released in 1986. This live recording was made in what is evidently a ...
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British alternative rock-pop band the Room plat their catchy and addictive songs on this uplifting 18-track release.
Compiling the Room's second album and an earlier EP, In Evil Hour/Clear! is a fine addendum to the No Dream best-of also released by LTM earlier in 2004. By the time of In Evil Hour the Room had hit upon the blend of rushed passion and inspired playing that made them perhaps the great also-ran band in early-'80s U.K. post-punk terms; it's little surprise that the album begins in spectacular fashion with "A Shirt of Fire," Dave Jackson's strong, keening voice swooping across the energetic jump-and-chime of the band. Paul Cavanagh isn't necessarily a unique guitarist but he's a solid one with individual flair showing in brief solos and trills that add depth without becoming pointless exercises (check the great breaks on "The Friendly Enemy," one of the standout tracks all through). At his best he achieves moments of multi-tracked richness that compares favorably to Will Sergeant and Robin Guthrie's work. Slower songs like "Naive" and the amiable waltz of "Crying Red" give keyboardist Peter Baker a chance to stand out as well, adding a bit of psychedelic glaze to the ...
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