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TIM HECKER

Progressive Electronic • Canada


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Tim Hecker biography
Timothy D. Hecker - Born 1974 (Vancouver, Canada)

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::::

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Buy TIM HECKER Music


AnoyoAnoyo
Kranky 2019
$12.55
$15.31 (used)
Haunt Me Haunt Me Do It AgainHaunt Me Haunt Me Do It Again
Kranky 2018
$17.21
$28.54 (used)
Harmony In UltravioletHarmony In Ultraviolet
Kranky 2009
$21.27
$27.05 (used)
Ravedeath 1972Ravedeath 1972
Kranky 2011
$20.60
$27.55 (used)
VirginsVirgins
Kranky 2013
$27.20
$34.99 (used)
KonoyoKonoyo
Kranky 2018
$20.65
$20.22 (used)
Dropped PianosDropped Pianos
Kranky 2011
$7.19
$10.51 (used)
Love StreamsLove Streams
4AD 2016
$8.75
$7.98 (used)
Radio AmorRadio Amor
Kranky 2018
$12.67
$12.00 (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
3.93 | 8 ratings
Harmony In Ultraviolet
2006
3.96 | 5 ratings
Tim Hecker & Aidan Baker: Fantasma Parastasie
2008
4.00 | 2 ratings
An Imaginary Country
2009
4.11 | 28 ratings
Ravedeath, 1972
2011
1.91 | 14 ratings
Virgins
2013
3.96 | 5 ratings
Love Streams
2016
4.91 | 3 ratings
Konoyo
2018
5.00 | 1 ratings
Anoyo
2019

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)

4.00 | 2 ratings
My Love Is Rotten to the Core
2002
4.12 | 6 ratings
Dropped Pianos
2011

TIM HECKER Reviews


Showing last 10 reviews only
 My Love Is Rotten to the Core by HECKER, TIM album cover Singles/EPs/Fan Club/Promo, 2002
4.00 | 2 ratings

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My Love Is Rotten to the Core
Tim Hecker Progressive Electronic

Review by admireArt
Prog Reviewer

4 stars Who else but Tim Hecker would have been able to play around with such characters and story and deliver such good results.

As you may have intuited from its (horrendous) cover art and song (?) titles this work is structured around some kind of Van Halen related voice samplers & soundbits of course transmuted by Tim Heckerīs electronically filtered/cut up/distorted/noise enhanced & reduced/re-arranged & reloaded experimental hand.

I read somewhere that this could hardly be called music, if so, Mr. Hecker should feel more than proud because this his 2nd output My Love Is Rotten To The Core (2002) EP was certainly pointing out at his personal quest in finding his own electronic music language and in doing so he also updates, without plagiarising, the not so famous nor money hungry and still obscure side of the Berlin School of electronic music of which Conrad Schnitzler, Master Noise/Glitch Maker, was also one of its original founders and the not Berlin School at all but early in his career (and also later) electronic/acoustic music composer & musician Steve Reich with his astounding , way ahead experimental recorded vocal works like Come Out (1966) or My Name Is (1967).

So, not all that glitters is gold and gold not always glitters.

Therefore I will not try to encourage or discourage you about this EP. Tim Heckerīs music language is not for everyone that I know but this work is certainly for me, who by the way could not care less about David or Eddie, but that is exactly what art is all about.

In my collection 4 PA stars, in yours?, I really donīt know, unless you already know.

 Anoyo by HECKER, TIM album cover Studio Album, 2019
5.00 | 1 ratings

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Anoyo
Tim Hecker Progressive Electronic

Review by admireArt
Prog Reviewer

— First review of this album —
5 stars Tim Hecker - Anoyo (2019) continues what Konoyo (2018) started. A 6 track release full of fresh new approaches of his sonic impressions on his visits (in plural) to Japan.

In able to review it, I inevitably, have to compare it with his previous release of which this one is a kind of an offspring or to put it in other words in the same tenor.

Anyway, I found in this Anoyo an enhanced poetic/nostalgic imprint & a far more palpable closeness to Classical Japanese music canons and their respective instruments, which by the way, in able for you reader to get a clear picture of what goes on here, are transfigured into new hazy electronic music realms with a detached yet deep feel of sacredness.

Therefore there is a clear contrast between both albums and their respective approaches. Nevertheless both works counterbalance each other as it could have turned out in a single release of a (perfect) double album, but each album withholds its own charm and yes somehow different yet fraternal results.

A more than honorable sequel to his past masterwork. 5 PA stars.

 Konoyo by HECKER, TIM album cover Studio Album, 2018
4.91 | 3 ratings

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Konoyo
Tim Hecker Progressive Electronic

Review by admireArt
Prog Reviewer

5 stars Tim Hecker has a very clear picture of what he wants and how to get there, in fact, he has never stopped looking for his true language in electronic music, the personal one, not its mirror images nor the subtly borrowed ones. From his first release to its last ones this has been his quest, in a not flawless discography, you can say whatever, but all of his outputs are true to the bone, not anyoneīs else but his.

Konoyo (2018), has its conceptual inspiration taken from his visits to Japan, but do not expect Mr. Hecker to actually recreate what is not his, that is why it all turns out to be just a reference music composition wise. Let me say that he envisions his language in an interpretation of what Tim Hecker will sound in a totally opposite geographical context and of course with different musical canons.

And oh surprise! This transfiguration turns out to be one of his friendlier outputs, of course in his own terms.

Konoyo is a 7 instrumental tracks release with consice & varied as creative acoustic/electronic music compositions perfectly timed without expendable moments.

To set this album, Progressive Music sub-genres speaking, it is a merge between the atmospheric/cosmic/drone/noise world of Prog. Electronics & enough "old school" Rock in Oppostion/ Avant-Prog daring songwriting impetus to create a unique 5 stars masterpiece.

So, expect to travel these foreign sonic lands, Tim Heckerīs way and no one elseīs, and enjoy the ride!

 Ravedeath, 1972 by HECKER, TIM album cover Studio Album, 2011
4.11 | 28 ratings

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Ravedeath, 1972
Tim Hecker Progressive Electronic

Review by BrufordFreak
Collaborator Honorary Collaborator

4 stars Canadian Tim Hecker is another long-time techno and electronica composer and performer who has been rather prolific with eight album releases and nine EPs over the past 16 years. Ravedeath 1972 is interesting for the the way Tim and engineer-and-sometimes-pianist Ben Frost have processed the sounds taken from an Icelandic church organ. No song stands out as amazing or incredible (and quite a few are emotionally stagnant and forgettable) but the sound engineering is memorable.

Five star songs: 10. "In the Air (parts I, II, & III)" (12:21) (10/10); 5. "No Drums" (3:24) (9/10); 6. "Hatred of Music I" (6:13) (9/10); 7. "Hatred of Music II" (4:22) (9/10); 8. "Analog Paralysis, 1978" (3:52) (9/10), and; 9. "Studio Suicide, 1980" (3:25) (9/10).

Four star songs: 1. "The Piano Drop" (2:58) (8/10); 2. "In the Fog I" (4:52) (8/10); 3. "In the Fog II" (6:01) (8/10), and; 4. "In the Fog III" (5:01) (8/10).

A solid four stars; a very good album well worth recommending to others.

 Ravedeath, 1972 by HECKER, TIM album cover Studio Album, 2011
4.11 | 28 ratings

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Ravedeath, 1972
Tim Hecker Progressive Electronic

Review by Warthur
Prog Reviewer

4 stars A slow, ambient drone piece which, as you might expect from the title, feels infused with the spirit of ambient pioneers of the early 1970s. In particular, after the music fades in like a transmission received from a weakly-broadcasting radio station, the album seems to point towards the same pure, deep realms of space that Tangerine Dream first mapped on Zeit, with a very similar sense of faint warmth to it. As is often the case with music in this mode, the distinctions between tracks are more theoretical than actual, sudden transitions not really being the name of the game within this ambient landscape.
 Love Streams by HECKER, TIM album cover Studio Album, 2016
3.96 | 5 ratings

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Love Streams
Tim Hecker Progressive Electronic

Review by admireArt
Prog Reviewer

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
3.93 | 8 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
1.91 | 14 ratings

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Virgins
Tim Hecker Progressive Electronic

Review by Guldbamsen
Special Collaborator Retired Admin

1 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.

 Tim Hecker & Aidan Baker: Fantasma Parastasie by HECKER, TIM album cover Studio Album, 2008
3.96 | 5 ratings

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Tim Hecker & Aidan Baker: Fantasma Parastasie
Tim Hecker Progressive Electronic

Review by admireArt
Prog Reviewer

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
4.11 | 28 ratings

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Ravedeath, 1972
Tim Hecker Progressive Electronic

Review by admireArt
Prog Reviewer

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.
Thanks to Philippe Blache for the artist addition. and to Quinino for the last updates

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