| | Tim Hecker Harmony In Ultraviolet CD Tim Hecker Discography of CDs
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Bookended by two tracks, the harmonious "Blood Rainbow" and its dissonant doppelganger, "Rainbow Blood," the Canadian ambient electronica artist Tim Hecker's sixth album is a study in textures, with the smooth serial patterns of "Chimeras" gliding by like stately digital swans on a river of ambient sound, ominous static-driven pulses slowly gathering in "Dungeoneering," and questing sonic vapor trails soaring across the cathedral-like spaces of "Radio Spiricom."
Recording information: Banff (2005-2006); Montreal, Canada (2005-2006); Ottawa, Canada (2005-2006).The Wire (p.55) - "'Chimeras' is the album's highlight, a flustered pop Ambient threnody with each peal of guitar dissolving back into night fog..." Harmony In Ultraviolet Music Tim Hecker Harmony In Ultraviolet Songs | 1. | Rainbow Blood |
| 2. | Stags, Aircraft, Kings and Secretaries |
| 3. | Palimpsest, Pt. 1 |
| 4. | Chimeras |
| 5. | Dungeoneering |
| 6. | Palimpsest, Pt. 2 |
| 7. | Spring Heeled Jack Flies Tonight |
| 8. | Harmony in Blue, Pts. 1-4 |
| 9. | Radio Spiricom |
| 10. | Whitecaps of White Noise, Pt. 1 |
| 11. | Whitecaps of White Noise, Pt. 2 |
| 12. | Blood Rainbow |
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Harmony In Ultraviolet Review
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Purchase Harmony In Ultraviolet CD To buy, Click on price to add to cart | Tim Hecker Haunt Me Haunt Me, Do It Again CD (2001)
Harmony In Ultraviolet album
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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, ...
| | Tim Hecker Mirages CD (2004)
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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 ...
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Anyone looking for the warm, accessible techno of the Knife's "Heartbeats" (popularized by a Jose Gonzalez cover) won't find it on SILENT SHOUT. On this album, Swedish siblings Olof Dreijer and Karin Dreijer Andersson push their brand of vocal electronica to its creepiest limits, and achieve a result that is by turns lovely and truly disturbing, ...
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Recording information: Seven-A.
| | 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 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, and that's precisely the point, as Hecker's overall aesthetic seems centered upon an otherworldly style of sound manipulation meant to baffle even the most seasoned digital-music listeners. The conceptual framework he builds upon is likewise hazily vague, and no doubt purposefully so. The track titles don't allude to much on their own, yet when coupled with the album's remarkable packaging, a whispered narrative begins to shape, one involving remote seafaring, faint transmissions, compass guidance, and a third-world locale. It's perhaps fitting then that the album's climax, ...
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