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TIM HECKER

Progressive Electronic • Canada


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Tim Hecker biography
Tim HECKER is a Progressive Electronic artists located in Canada. HECKER began writing and recording ambient electronic music around 1996, originally under the moniker JETONE. HECKER's first studio album was "Haunt Me, Haunt Me Do It Again," which combined ambient and glitch-style electronic music in a post-rock structure. He followed this album with 2002's EP "My Love is Rotten to the Core," which is a psuedo-concept album, and is comprised of soundbits of Van Halen songs, interviews, and other related sound bits that detail the band's break up. His next album was "Radio Amor," which was released in 2003. This was followed by "Mirages," which was released in 2004. This album is essentially made up of heavily distorted and processed guitar noises in an ambient and almost shoegaze fashion. HECKER's 2006 album was "Harmony in Ultraviolet," which Pitchfork media desribes as a "sensual body music of a very particular kind, and it's the sort of record that asks a lot. But if you trust it and go along, it knows exactly where to lay its hands." HECKER's fifth official studio album was "An Imaginary Country," which was released in 2009. 2011 saw the release of two HECKER albums, "Ravedeath, 1972" in February, and "Dropped Pianos" in October.

HECKER is well known in the ambient world, and has toured with fellow ambient artists as well as some post rock bands, such as popular band GODSPEED YOU! BLACK EMPEROR, among others.

HECKER's music is a very diverse experience, ranging from harsh soundscapes to mellow, calming ambient pastures of sound, all having a rather universal atmosphere of peaceful and carefully calibrated calming mood. The music is heavily drone based, with a very minimal, abstract, and at times foreboding mood to accompany it.

::::Andy Webb, Andyman1125::::

Tim Hecker official website

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Love StreamsLove Streams
4AD 2016
Vinyl$21.12
$20.53 (used)
VirginsVirgins
Kranky 2013
Vinyl$17.41
$15.99 (used)
Dropped PianosDropped Pianos
101 DISTRIBUTION 2011
Vinyl$12.05
$16.99 (used)
Ravedeath 1972Ravedeath 1972
Kranky 2011
Audio CD$10.51
$4.99 (used)
Instrumental TouristInstrumental Tourist
Caroline 2012
Audio CD$6.55
$4.60 (used)
Harmony in UltravioletHarmony in Ultraviolet
Kranky 2006
Audio CD$10.58
$8.95 (used)
Norberg / ApondalifaNorberg / Apondalifa
Room40 2015
Vinyl$18.56
Imaginary CountryImaginary Country
Kranky 2009
Audio CD$10.58
$10.57 (used)
Radio AmorRadio Amor
Alien8 Recording 2007
Audio CD$29.95 (used)
Haunt MeHaunt Me
Subtractif 2004
Audio CD$21.99 (used)
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TIM HECKER discography


Ordered by release date | Showing ratings (top albums) | Help Progarchives.com to complete the discography and add albums

TIM HECKER top albums (CD, LP, MC, SACD, DVD-A, Digital Media Download)

3.33 | 6 ratings
Haunt Me, Haunt Me Do It Again
2001
3.33 | 3 ratings
Radio Amor
2003
3.86 | 7 ratings
Mirages
2004
3.92 | 7 ratings
Harmony In Ultraviolet
2006
3.91 | 4 ratings
Aidan Baker, Tim Hecker ‎- Fantasma Parastasie
2008
4.00 | 2 ratings
An Imaginary Country
2009
4.19 | 20 ratings
Ravedeath, 1972
2011
2.55 | 12 ratings
Virgins
2013
3.95 | 3 ratings
Love Streams
2016

TIM HECKER Live Albums (CD, LP, MC, SACD, DVD-A, Digital Media Download)

TIM HECKER Videos (DVD, Blu-ray, VHS etc)

TIM HECKER Boxset & Compilations (CD, LP, MC, SACD, DVD-A, Digital Media Download)

TIM HECKER Official Singles, EPs, Fan Club & Promo (CD, EP/LP, MC, Digital Media Download)

4.08 | 5 ratings
Dropped Pianos
2011

TIM HECKER Reviews


Showing last 10 reviews only
 Love Streams by HECKER, TIM album cover Studio Album, 2016
3.95 | 3 ratings

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Love Streams
Tim Hecker Progressive Electronic

Review by admireArt
Collaborator PSIKE Team

4 stars A focused view of modern chaos through the eyes of ancient times.

Tim Hecker is an iconclast, his broken musical idiom is not for everyone, yet, he because of the same, is always pushing his own experimental spirit beyond comfortable zones, and in the same way "comfortable" audiences.

Therefore his electronic music resembles none. To cut it short, and relate his language somewhere in this PA's Progressive Electronic neighborhood, he is more in tune with Conrad Schnitzler's streets than Klaus Schulze's or Tangerine Dream's avenues.

In this 2016, "Love Streams", Tim Hecker's approach is closer to classical/contemporary composition stylings and 15 century like chorals, blended into one singular mixture, transfigured with his broken radio electronics (broken electric guitar solos included here and there), his own understanding of the Berlin School methods, his own manufactured style and his keen sense of music writing.

Aided by the Icelandic Choir Ensemble and some other instrumentalists, this release is a tornado of fresh air in this PA's sub-genre. full of Tangerine Dream's copycats. Opposite to that proving that in fact there is life after T.D, in this electronic world and, above all, a highly recommendable acquisition for daring P/E enthusiasts which can enjoy order as they can enjoy chaos!

****4 "full" PA stars.

 Harmony In Ultraviolet  by HECKER, TIM album cover Studio Album, 2006
3.92 | 7 ratings

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Harmony In Ultraviolet
Tim Hecker Progressive Electronic

Review by Warthur
Prog Reviewer

4 stars Tim Hecker gets that "ambient" does not mean the same thing as "featureless", and that a good ambient album should exist in a curious space where it simultaneously fades into the background but also calls the listener's attention without ham-fistedly grabbing or demanding it. Harmony In Ultraviolet is an advanced lesson in the craft which takes a droning bedrock and layers onto it a range of curious sonic happenings which, like the best releases in the genre, offers a Rorschach test for the ear. Particular moods are suggested and some pieces, such as Chimeras, are positively rife with tension, but Hecker neither goes overboard nor becomes excessively spartan.
 Virgins by HECKER, TIM album cover Studio Album, 2013
2.55 | 12 ratings

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Virgins
Tim Hecker Progressive Electronic

Review by Guldbamsen
Special Collaborator Retired Admin

2 stars One of the reasons we're not goats

There are some obvious advantages we have over goats we as people should cherish like the very earth we roam. First of all, hands. I love my hands - in fact so much so, that I've been known to clap furiously into the night, applauding the very instrument at work with a fierce and burning love that sadly would've been lost on the aforementioned hoof bearing critter.

One thing that has always puzzled me about goats is their ability to devour whatever their cruel and, let's face it, rather poor cuisine oafs serve them with. I remember visiting the zoo back when I was a wee kid. I had on my beloved KISS t-shirt, which I wore proudly and with much gusto - until I thought I'd run into a snag of some kind. I froze instantly, reminding myself not to panic - maybe Gene Simmons tongue hadn't been stretched even more than what it already was. I then turned my head and saw a small goat chewing happily on my shirt.... It proceeded to do so until I found something else eatable to stuff in it's face. Chance would have it that I was standing on top of some rather foul smelling cardboard, which I then force-fed into it's lazily chewing jaws.

Now what on earth does all this talk of goats and cardboards have to with Canadian electronic wizard Tim Hecker and his new release 'Virgins'? Well we, as a species, have evolved from the stage of merely feeding ourselves for survival. Hell, more than anything else, It now seems as though we're on the brink of eating ourselves to an early grave.... anyway we've refined our eating habits and the way we prepare our meals. We got so much going for us that our tasting buds have reached a powerful sensitivity to everything we decide to stuff our faces with. So why on earth would we ever go back to eating cardboard?

Well the same goes for music. We have so much to choose from these days, it literally boggles the mind, and maybe that's why I find it increasingly perplexing to see this album heralded pretty much everywhere on the internet as some kind of prodigal modern electronic release. Personally, I'd pretty much call it cardboard muzak. Now before I go into all of this, I'd like to point out my natural affinity for the more out there music. I loooove strange unorthodox sounds and tapestries and am furthermore an electronic junkie always itching and scratching for the next fix - the next trip that takes me completely elsewhere.

On 'Virgins' there's a sense of an omnipresent stagnant droning atmospheric going down. Much of the time I am reminded of Lustmord and his unique ways of pushing these mountainous drones forward, yet with Hecker the overall emphasis lies elsewhere, meaning that you just get this wall paper like entity hovering quietly in the back like some shy ninja with a fear of knives. Then you get the touch-and-go piano clinkering. "CLINK CLINK.......CLINK CLINK" -Frequently used as a way of incorporating a bit of beat into the mix, yet with the intonation and rhythm sense comparable to that of a chicken, the outcome comes across crudely and perhaps more important: drearily. Even when the piano decides to dive head first into small melodic segments, it takes on the form of those adverts on tv which promote health, sound economics and intelligent housing. Yawn!

Then there's the static noise - the television sound that suddenly got hugely influential in modern electronic music sometime around the turn of the millennium. Hecker though tries to implement these white noise walls of sound at the tail end of the occasional synth squeaks, making them crackle and pop like old wiring gone bad. Other times he plays around with them - fiddling about with the volume making them appear as fragmented rhythms and, at times, something akin to melodies.

This is all about atmospherics though. It's about moods and gentle unmelodious waves of sound. Sometimes it sounds like a factory hall getting cleaned out with a couple of brooms whereas there are other moments, where I feel transported into a piano tuning shop where this old dude sits around and clinks away on arbitrary tangents.

I am so disappointed with this thing. I was hoping for something special and new - something that rivalled all those fantastic reviews I'd read............but no dice - no cigar - no real zing was to be found. Listening to this album all the way through makes me feel like a goat, -and not one of those fine-dining buggers who hang out at the local Burger King - no the very same that keep munching on KISS t-shirts and cardboard.

 Aidan Baker, Tim Hecker ‎- Fantasma Parastasie by HECKER, TIM album cover Studio Album, 2008
3.91 | 4 ratings

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Aidan Baker, Tim Hecker ‎- Fantasma Parastasie
Tim Hecker Progressive Electronic

Review by admireArt
Collaborator PSIKE Team

4 stars This project could easily be tagged as "Chamber Music for White Noise, Semi-Acoustic Instruments & Distorted Electronic Guitars and Pianos". The presence of Aidan Baker is unmistakable, not only by contrast, but also in character. Tim Hecker's work sums his best in order for a third language to develop. Electronic "Chamber Music" that has both a dark and bright counterpart, blended in a language that is common for the 2 musicians. The balance in performance & music-composition, is very inspired and maybe even respectful of their respective means of expression and need for freedom, but never losing sense of the "whole picture". Short- timed for today's standards less than 35 minutes, although the very long list of sections, they actually add up only to 7 individual songs, tastefully connected, as if parts of a symphony. That is one of TH's great achievements, the use of distorted ensemble music DE-CONSTRUCTED first, in able to Re-construct it later into a new personal "aestetique". (his new work "Virgins" relies mainly on that). Aidan Baker carries the weight of providing the "bright" counterparts (small feat) with his un-common ability to skip as always the predictable road, in favor of unexplored ones, without being extreme.(his solo work is by far more "universal" than Hecker's). Balanced, ORIGINAL, daring and beautiful without intention, in short, sublime! In hope of more collaborations between this creative pair of composers and performers. For now, ****4.5 full, PA stars.
 Ravedeath, 1972  by HECKER, TIM album cover Studio Album, 2011
4.19 | 20 ratings

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Ravedeath, 1972
Tim Hecker Progressive Electronic

Review by admireArt
Collaborator PSIKE Team

5 stars I suppose, you could be, as a "new-comer", be foretold some basics. You, if you have the disposition, are going to be sent to a distant and so close devastated planet. Maybe called "earth" (if that is your choice)... You are going to be guided into a space where even sound is distorted by the ruined forces of human machinery and the continous decline of this place aural nature. BUT also my friend, you will witness the ephemeral beauties, all this ravage has left.... As yellow flowers buried under the snow white ashes of fire. Also, feel prepared for the inclement conditions of the sonic weather. Which normally are heavy-thundering rains of "white noise" storms. Ahh!..... but the beauty you will testify, will bring back your trust for humans and even maybe, love!...."Ravedeath" is a daring sonic effort.... a constructed/de-constructed battle of elements; which are as disturbing as being caught in a storm naked, in a "post-man/nature" environment... But the immortal frailties of human creations and conceptions, left over.. are still worth the visit!!! *****5 "daring way-ahead, un-pretentious, DARK, musical/non-musical, electronic/acoustic, masterpiece" PA stars! ............................You have been forewarned.
 Dropped Pianos by HECKER, TIM album cover Singles/EPs/Fan Club/Promo, 2011
4.08 | 5 ratings

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Dropped Pianos
Tim Hecker Progressive Electronic

Review by The Truth
Collaborator Post/Math Rock Team

4 stars Although basically remnants of the Ravedeath project, Dropped Pianos is an incredibly well-done if not a bit understated effort. Hecker proves he can make something sound beautiful without intense treatment.

Dropped Pianos consists of piano tracks (none of them actually sound as if they are dropped, luckily) that are lightly treated with production but aren't quite ambient yet. It's a sort of raw demo of an ambient album that still has the ambiance but not the stereotypical ambient sound. It's actually a very cool sound and Hecker does this practically without trying.

When an artist can release basically a demo album and have it be critically acclaimed, that is a sign of greatness and Tim Hecker certainly would fall under the great category, Dropped Pianos will appeal to anyone looking for something to relax to as it really allows the listener to just unwind. It's a very soothing and enjoyable experience and keeps the hungry Hecker fans satisfied after the impressive Ravedeath album.

 Ravedeath, 1972  by HECKER, TIM album cover Studio Album, 2011
4.19 | 20 ratings

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Ravedeath, 1972
Tim Hecker Progressive Electronic

Review by EatThatPhonebook
Prog Reviewer

4 stars 7/10

"Ravedeath,1972" is a perfect soundtrack to dystopia.

Tim Hecker is an ambient musician that has been around for while, and I just have never heard of him, until "Ravedeath,1972" came out.

Basically Hecker's music is a mix between ambient, drone, and even a little bit of noise music, although these genre aren't really mixed up together like they were forming a sort of pie, in fact these moments are carefully alternated. Mostly, the album is made of atmospheric synth sounds, but piano and organ are very frequent as well, especially in the multi part songs. The musician certainly owns a lot to electronic musicians like Brian Eno, Klaus Schulze, and many others.

The album has a very impressive structure: twelve songs, all of them have a perfect flow from one another, creating one epic fifty minute piece of music, which seems to be divided by twelve just for comfort. The concept of the album is very dark, because of the post-apocalyptic tones the songs have. There are some tracks here divided into 2 (Hatred Of Music), or even 3 parts (In The Fog, In The Air), but honestly I find that many parts of these movements can be boring and not really that evocative as they wanted to be. But the single songs, like the ethereal "The Piano Drop" or "No Drums", as well as some creepier, more tense parts like "Studio Suicide" and "Analog Paralysis, 1978".

An album that was praised by many during this year, and I can definitely see why. But I can't help having a few doubts about it, even though it's still a very enjoyable listen all the way through.

 Ravedeath, 1972  by HECKER, TIM album cover Studio Album, 2011
4.19 | 20 ratings

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Ravedeath, 1972
Tim Hecker Progressive Electronic

Review by The Truth
Collaborator Post/Math Rock Team

4 stars Tim Hecker's Ravedeath, 1972 is one of the coolest releases this year in terms of originality and quality of the music.

It contains some of the most beautiful ambiance ever recorded (a feat which Mr. Hecker flirted with several years earlier with Harmony In Ultraviolet but didn't quite accomplish) and this fact strikes the listener (or at least me, personally) from the first listen.

It's not rare for an ambient album to really impress me but this one has a certain quality lurking deep within the depths of it's wall of sound that separates it from other albums, a certain voluminous kind of quality that gives the illusion that the ambiance is deeper than our realm of thought.

For that aspect of the music alone, this album is enjoyable for even the most casual listener. Many non-ambient fans will find something in it they had not heard in ones they had tried previously and it may lead to renewed interest in the music. I, certainly, go into an ambient binge every single time I put this album on.

Basically, what the listener gets here is interesting music. Interesting music that gives the listener an inquisitive state of mind that does not come with other records. Although there have been much better ambient records, this one definitely remains unique.

Thanks to Philippe Blache for the artist addition.

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