Montreal-based musician and sound artist Tim Hecker is known for intense compositions that combine ethereal dissonance and "concept". His debut full-length, Haunt Me, Haunt Me Do It Again was a record of abstract drones that earned him a cult following in 2001. A decade later Hecker’s distinct catalogue of lush, dark ambience has established him as a master of atmospherics.
A veteran CTM performer, Hecker returns to present new work based on the critically acclaimed album Ravedeath, 1972 (2011). Hecker mics up the Passionskirche church organ to produce a performance based on a system of feedback between organ and electronics, overlaying the instrument’s natural sounds with real-time digital processing. The tones slowly overlap, intertwine and eventually dissipate, a technique Hecker devised during the production of Ravedeath, 1972 in Reykjavik with producer Ben Frost. The resulting digital-analog hybrid, filled with the tumultuous discord of tensions between real and digital realms, is an ominous exploration of sonic decay in both the physical sense of sound degradation and the conceptual idea of music as a devalued commodity.
