Tim Hecker is a Canadian composer and sound artist who has spent the last decade inhabiting a unique intersection between noise, dissonance, and melody. In his varied and celebrated works, digital and organic sources tightly intertwine. The result is a hybrid aesthetic that recalls electronic abstraction and psychedelic American minimalism. Across his 15-year career he has moved through shades of reflective electronic noise, experiential sound design, and modern composition with a deft and distinguished touch. Cultivating enigmatic, uneasy soundscapes, the beauty and crush of Hecker’s sonically processed noise has been compared to “tectonic color plates” and “cathedral electronic music.” As the New York Times put it, he plays “foreboding, abstract pieces in which static and sub-bass rumbles open up around slow-moving notes and chords, like fissures in the earth waiting to swallow them whole.” Tim Hecker is an extensive, vigorous live performer, and the immense power and menace of his live shows makes him a contemporary master of volume and texture. His 2016 album Love Streams (4AD) continued to mark him out as one of the most vital contemporary experimental and electronic composers, using recordings from sessions in Reykjavik with an Icelandic choir, but then reconstructed into new and beguiling mutant form (“it variously feels blissful, soothing, profoundly creepy, uplifting and cathartic." Album of the Week, The Guardian). As well as his solo works, Hecker has worked on a wide range of projects, from installations with the likes of Doug Aitken and Stan Douglas or Unsound festival to score work for contemporary dance and film projects.
In October 2017, Hecker travelled to Japan to record with the Toshihiko Kasai ensemble at the Jiunzan Mandala-Temple Kanzouin temple, located just outside of Tokyo. These recordings will form a central part to Hecker’s forthcoming album (due for release in October 2018), and the framework for working on this broader live performance.