Tim Hecker

Music, Dance and electronic
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Daniel Lopatin, left, and Tim Hecker
Photograph: Courtesy Roulette Daniel Lopatin, left, and Tim Hecker

Time Out says

The master sound sculpter's last album, 2016's Love Streams, added manipulated vocals from the Icelandic Choir Ensemble to his textural palette—a reprisal of-sorts of his interest in the country's liturgical spaces as a creative source, having recorded all of 2010's haunting, ground-breaking Ravedeath, 1972 in a Reykjavik church.

His newest LP Konoyo strays from Sacrament but retains a fascination with the stately, imposing and monumental, turning toward Gagaku—the music of the Japanese imperial courts. Working with Japanese ensemble Tokyo Gatkuso, Hecker crafts his characteristic magic: carving lush sounds from organic sources that bear little resemblence to the original material. But rather than dense tectonically-shifting atmospheres, here he employs a notably threadbare fabric of interweaving sirens.

The emotional terrain of Hecker's soundscapes often escapes easy definition, but the sonic sparsity here more clearly evokes an elegiac melancholy. He continues to draw novel sonic worlds, but the geography is a touch more familiar—his penchant for the uncanny on its most resplendent display.

The supporting tour for Love Streams decentered Hecker as a performer, shrouding the audience in a completely impenetrable, eyesight-disabling fog. At this Williamsburg gig, however, he plans to bring members of Tokyo Gatkuso with him—a far more "live" format than we're used to seeing from the producer. Whatever lies in wait, expect to be awe-struck. — Ro S

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