| | Tim Hecker Mirages CD Tim Hecker Discography of CDs
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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 on "Celestina," and even rounded pulses on "Kaito." But like a gentle master, Hecker eventually breaks his smoke bubbles, allowing the gas to float free on the generously long closer, "Incurably Optimistic!" Yet low and behold, the vapors continue to hold the shapes in which they were once held, drifting not up and away, but moving in paths around an undeterminable axis until they finally disappear without the least bit of a whimper. But like matter, sound is a finite yet never depleting thing, transferring from electrical buzz to moving air to cerebral stimulation. Potential energy waiting, just waiting to go kinetic again. ~ Joshua Glazer
Unknown Contributor Role: Christof Migone.
Personnel: David Bryant , Oren Ambarchi (guitar).
Recording information: Montreal, Canada (11/2002-03/2004); Ottawa, Canada (11/2002-03/2004).
The Wire (p.57) - "Hecker often drops hints at melody through a heavy fog of fuzz, clicks, pops and hiss. The overall effect is peaceful and pretty..."
CMJ (p.6) - "With poise and fennesz, Hecker makes beautiful Eno-tinged ambient textures burst and undulate with the speaker-slashing power of My Bloody Valentine..." Mirages Review
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Purchase Mirages CD To buy, Click on price to add to cart | Loscil Submers CD (2002)
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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 on waves of rhythm over thumps and pulses. "Triton" is ...
| | M83 Dead Cities, Red Seas & Lost Ghosts CD (2003)
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Initial pressings of DEAD CITIES... include a bonus Enhanced CD.
Anthony Gonzalez and Nicolas Fromageau, two young Frenchmen with a penchant for electronic music, released their first album as M83 in 2001. Two years later (three in the US), they upped the ante with DEAD CITIES, RED SEAS & LOST GHOSTS. It's easy to forgive the countless My Bloody Valentine ...
| | M83 Before The Dawn Heals Us CD (2005)
Mirages music CDs
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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 directions. Analog synthesizers still dominate the music, recalling early Tangerine Dream, and there is no shortage of the dramatic flourishes and cinematic sensibility that characterized DEAD CITIES (just listen to "Moon Child," the album's leadoff track). However, Gonzalez's song ...
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| | Tim Hecker Radio Amor CD (2003)
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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 ...
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