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Recording information: Banff (2005-2006); Montreal, Canada (2005-2006); Ottawa, Canada (2005-2006). 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." Canadian Tim Hecker has been a respected force on the electronica scene since his debut Haunt Me Haunt Me, Do It Again, came out in 2001 (in addition to his work as Jetone). Since then, he has consistently released experimental ambient music that broadens standard compositional barriers while still remaining accessible, and such is the case with Harmony in Ultraviolet, Hecker's fourth full-length. Though most of the tracks on the album are separate entities -- including each part of "Harmony in Blue" -- they work together to form an idea that's greater than its individual elements: a sense of exploration and sadness and understanding of the infiniteness and uncertainty and expanse of the world. Themes are introduced -- a looped arpeggio, a distorted guitar riff, lone keyboard notes -- but nothing is ever fully developed, nothing ever completely exposes itself. Instead, there's a suggestion that's built-up and expounded upon but never quite resolved, long notes that pull themselves in and out of focus are favored over melodies, leaving a kind of agitation in the listener like the dark restlessness of an industrial city. Three notes make a chord but somehow Hecker's don't, they're so different in texture and scope; in fact, they seem almost peacefully at odds with one another, aware of the others' existences but content to ignore them. It's the music of a gray urban skyline, of the kind of loneliness that comes from being around too many other people, of rusted fences and cold empty windows and distance, music that swells and crescendos, sets itself up for the denouement but never arrives at the climax; it's endlessly patient yet eager to move on. Wet bass notes and emaciated electric guitars, awash with distortion, crush together with programmed noise and drones, sounds erupt and are then dismissed, fifty minutes of questions and intimations, of resignation and acceptance, but not -- definitely not -- of answers. We'll have to find those ourselves. ~ Marisa BrownThe 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 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 (2004)
Harmony In Ultraviolet
$14.69 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 ...
| | Tim Hecker Mirages CD (2004)
Harmony In Ultraviolet
$12.85 Personnel: David Bryant , Oren Ambarchi (guitar). Recording information: Montreal, Canada (11/2002-03/2004); Ottawa, Canada (11/2002-03/2004). Unknown Contributor Role: Christof Migone. 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 ...
| | Knife Silent Shout CD (2006)
Harmony In Ultraviolet
$11.99 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, but always engaging. The beats and chords are clean and inventive, from choppy, pogo-stick rhythms to smooth progressions and skittering clicks. The vocals are consistently bent, distorted, stretched, and otherwise manipulated. This can be funny or unnerving, depending on the song. In both cases, though, it adds to the emotional heft of an album that is wonderfully catchy and startlingly intelligent. The remoteness of the Knife (aka Olof and Karin Dreijer) and the chilliness of their music makes it easy to conjure up images of the duo working in a studio that resembles the Fortress of Solitude, playing instruments carved out of ice. But if the vibrant pop of Deep Cuts was like the northern lights, then Silent Shout is a sunless, vast expanse of tundra. A much darker, more ambitious set of songs than the Knife's previous work, the ...
| | L Pierre Dip CD (2007)
Harmony In Ultraviolet
$12.59 Recording information: Seven-A.
| | Tim Hecker Radio Amor CD (2003)
Harmony In Ultraviolet
$11.69 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 ...
| | Eluvium Copia CD (2007) Digipak
Harmony In Ultraviolet
$11.99 Eluvium is the recording moniker for Matthew Cooper, a solo electronica artist who specializes in heavily atmospheric music that clearly owes a debt to the ambient work of Brian Eno. That influence can be heard on COPIA, which finds Cooper moving away from the guitar and electronics-dominated textures of his past releases toward a majestic orchestral feel. Slow, stately chord progressions create subtle, shifting moods and colors, giving rise to a meditative state in the listener. The presence ...
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