Ambient music fans rejoice.  Tim Hecker’s new album, Virgins, is coming soon.  For those not familiar with Hecker, he combines drone, noise and field recordings with classical instrumentation.  The result is an incredibly unique voice in the ambient world.  You will hear an almost traditional classical sound morph and twist into something otherworldly.

Currently, there are no sample tracks from the upcoming record, so enjoy Hecker’s widely acclaimed album Ravedeath 1972 in its entirety below:

 

The Details

AVAILABLE OCTOBER 15TH ON CD OR LIMITED EDITION COKE BOTTLE GREEN DOUBLE VINYL W/ DOWNLOAD CARD INCLUDED
Virgins was recorded during three periods in 2012, mostly in Reykjavik, Montreal and Seattle, using ensembles in live performance. The sound palette of this work is wider, almost 'percussive' and tighter sounding than previous works. While this album remains committed to a painterly form of musical abstraction, it is also a record of restrained composition recorded live primarily in intimate studio rooms. This record employs woodwinds, piano and synthesizers towards an effort at doing what digital music does not do naturally—making music that is out of time, out of tune and out of phase.

This follow-up to his Juno-awarded Ravedeath, 1972 album exchanges gristled distortion and cavernous sound in favour of a close, airy, more defined palette. At times it points to the theological aspirations of early minimalist music. But it is not 'fake church music' for a secular age, rather something like an attempt at the sound of frankincense in slow-motion, or of a pulsing, flickering fluorescence in the grotto. Some pieces go off the rails before forming into anything, others eschew crescendo compositional structures or bombastic density while going sideways instead.

It points to the ongoing development of Hecker's work. It suggests illusory memories of drughazed jams or communal music performance that may have never been performed or been heard. These are mp3s that give confusing accounts either of sound's glowing physicality or of its prismatic evasiveness. It is an offering of music into the void, a gift of digital filler between distractions. Yet hopefully it also stands as a document of the enduring faith in the narcotic, enigmatic function of musicmas long-form expression.

Price $25

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