Few in the field of explorative ambient music have remained as questing and unclassifiable as Canadian composer Tim Hecker. Across his 17-year career he has moved through shades of reflective electronic noise, experiential sound design, and modern composition with a deft and distinguished touch.
The experiential composer’s ninth official full-length, Konoyo (“the world over here”) was largely recorded during several trips to Japan where he collaborated with members of the gagaku ensemble Tokyo Gakuso, in a temple on the outskirts of Tokyo. Inspired by conversations with a recently deceased friend about negative space and a sense of music’s increasingly banal density, Hecker found himself drawn towards restraint and elegance, while making music both collectively and alone.
As with the Icelandic choir he arranged on 2016’s Love Streams, the heights of Hecker’s talent emerge in his manipulation of source material, bending and burnishing it into fantastical new forms. Keening strings are stretched into surreal, pixelated mirages; woodwinds warble and dissipate as fractal whispers of spatial haze; sparse gestures of percussion are chopped, isolated, and eroded, like disembodied signals from the afterlife. Both in texture and intent, Konoyo conjures a somber, ceremonial mood, suffused with ritual and regret. Visions flutter and fade; dreams gleam and decay.