Tim Hecker - Love Streams

HOLY FOK

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Love Streams takes its cues from the avant-classical orchestration and extreme electronic processing of his previous full-length, 2013’s Virgins, but shaped into more melancholic, ultraviolet hues. Inspired by notions of 15th century choral scores (particularly those by Josquin des Prez), transposed to an artificial intelligence-era language of digital resonance and bright synths, the album was assembled gradually, with layers of studio-tracked keyboards, choir and woodwinds being woven into the mix, then molded and disfigured through complex programming. Like hearing some ancient strain of sacred music corrupted by encryption, Hecker admits to thinking about ideas like “liturgical aesthestics after Yeezus” and the “transcendental voice in the age of auto-tune,” during its creation.

The title of Hecker’s new work can be interpreted any number of ways – erotic, technological, spiritual – although his own conception is appropriately vast, calling it “a riff on the ubiquity and nihilism of streaming of all forms of life.” Now we stream more than we love. Nowadays music too frequently resembles a product, or white noise. With a career spanning fifteen years, Tim Hecker belongs to a select camp actively resisting this undertow, this reduction in significance.

who fucking writes this shit

The worst Hecker returns

  On 1/27/2016 at 4:13 PM, triachus said:

 

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Hecker admits to thinking about ideas like “liturgical aesthestics after Yeezus” and the “transcendental voice in the age of auto-tune,” during its creation.

I am SOLD

Yessss

Not sure what to make of that description though, kind of cringy

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Hecker admits to thinking about ideas like “liturgical aesthestics after Yeezus” and the “transcendental voice in the age of auto-tune,” during its creation.

I'd say Yeezus is less "liturgical aesthestics" (Think he means "aesthetics") and more "Kanye West's ego". Or maybe that's, like, the point, yeah?

Either way, corrupted sacred music and digitally warped orchestras sounds lush. Reminds me a tad of what Lauren Bousfield/Nero's Day at Disneyland was going for

  On 1/27/2016 at 4:20 PM, WeAreOceans said:

Either way, corrupted sacred music and digitally warped orchestras

lol @ that album description

Lol you're right though mcbpete. The description is ridiculous, but if it's anything close to reality then the album should be interesting. Virgins was one of my favorites from a couple years ago, so I'm definitely going to pay attention... though the Kanye reference makes me cringe.

sent using magic space waves

  On 1/27/2016 at 4:18 PM, Dan C said:

The worst Hecker returns

lol this

but jesus fucking christ i hate everything some times. ok so he listened to some josquin and he was like "haha wait this is actually cooL??!!?" welcome to the fucking 15th century asshole we've known this for years....

I listen to tim hecker for ambient music I listen to josquin for liturgical choral music, please don't mix them derp derp derp!!!

I hope "Up Red Bull Creek" is the RBMA diss we're all waiting for

whats wrong with the description ? He explains his concept so what ?

Description is ridiculous, but new Hecker is always welcome... I look forward to hearing this.

FLOL

just FLOL

  On 1/27/2016 at 5:22 PM, Kavinsky said:

whats wrong with the description ? He explains his concept so what ?

It's as pretentious as a fucking pear.

  On 1/27/2016 at 4:18 PM, Dan C said:

The worst Hecker returns

  On 1/27/2016 at 4:13 PM, triachus said:

 

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Love Streams takes its cues from the avant-classical orchestration and extreme electronic processing of his previous full-length, 2013’s Virgins, but shaped into more melancholic, ultraviolet hues. Inspired by notions of 15th century choral scores (particularly those by Josquin des Prez), transposed to an artificial intelligence-era language of digital resonance and bright synths, the album was assembled gradually, with layers of studio-tracked keyboards, choir and woodwinds being woven into the mix, then molded and disfigured through complex programming. Like hearing some ancient strain of sacred music corrupted by encryption, Hecker admits to thinking about ideas like “liturgical aesthestics after Yeezus” and the “transcendental voice in the age of auto-tune,” during its creation.

The title of Hecker’s new work can be interpreted any number of ways – erotic, technological, spiritual – although his own conception is appropriately vast, calling it “a riff on the ubiquity and nihilism of streaming of all forms of life.” Now we stream more than we love. Nowadays music too frequently resembles a product, or white noise. With a career spanning fifteen years, Tim Hecker belongs to a select camp actively resisting this undertow, this reduction in significance.

 

who fucking writes this shit

 

 

 

 

a Tim Hecker fan?

groovy cover art

i used to be so into this guy but after a while it all started to sound a bit samey, hoping this'll mix things up a bit

Looking forward to hearing this, Virgins made me interested again after my favorite, Harmony in Ultraviolet. And yeah, that cover is p. cool

As for the set of accompanying paragraphs, any one of us at age 17 could have dredged up a review like this for an album we liked. That particular cringe will bare nothing on the listening experience.

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Love Streams takes its cues from the avant-classical orchestration and extreme electronic processing of his previous full-length, 2013’s Virgins, but shaped into more melancholic, ultraviolet hues. Inspired by notions of 15th century choral scores (particularly those by Josquin des Prez), transposed to an artificial intelligence-era language of digital resonance and bright synths, the album was assembled gradually, with layers of studio-tracked keyboards, choir and woodwinds being woven into the mix, then molded and disfigured through complex programming. Like hearing some ancient strain of sacred music corrupted by encryption, Hecker admits to thinking about ideas like “liturgical aesthestics after Yeezus” and the “transcendental voice in the age of auto-tune,” during its creation.

 

The title of Hecker’s new work can be interpreted any number of ways – erotic, technological, spiritual – although his own conception is appropriately vast, calling it “a riff on the ubiquity and nihilism of streaming of all forms of life.” Now we stream more than we love. Nowadays music too frequently resembles a product, or white noise. With a career spanning fifteen years, Tim Hecker belongs to a select camp actively resisting this undertow, this reduction in significance.

 

  On 1/27/2016 at 6:53 PM, misc said:

i used to be so into this guy but after a while it all started to sound a bit samey, hoping this'll mix things up a bit

you know when you throw a mogwai track into a dsp mangler set to 'mild'? Well that will be every track on the new Tim Hecker album.

just like the last one

and the one before that...

don't care, hot.

Always dig some Hecker.

sounds great , very curious about his interpretation of 15th century choral music even his music always had some medieval touch to it.

  On 1/27/2016 at 7:19 PM, hello spiral said:

 

  On 1/27/2016 at 6:53 PM, misc said:

i used to be so into this guy but after a while it all started to sound a bit samey, hoping this'll mix things up a bit

 

you know when you throw a mogwai track into a dsp mangler set to 'mild'? Well that will be every track on the new Tim Hecker album.

just like the last one

and the one before that...

 

was pretty into tim hecker's music til i saw him live and ugh. this exactly. emotional climax during first 5 minutes and 60 additional minutes of plateaux.

again, still a keen fan of his studio material so i will check this out. the description hints at something less FULL EXTREME : >

Nice. I was hoping he'd drop something this year.