Tim Hecker Haunt Me Haunt Me Do It Again Zippyshare

Photos past Tom Winchester

Devastating. There's really no other way of describing Tim Hecker's dumbo discography and the emo-esque effect information technology'due south ever had on us. This despite his seemingly limited palette of pulses and ripples, clicks and cuts.

Knowing full well that there's much more than to his music than presets and IDM patches (see besides such laptop-lugging contemporaries as Alva Noto, Fennesz and the almighty Autechre), we asked Hecker to evidence the human side of his songs. What we didn't await were tales involving lap dances and the deeper, darker meaning of a Van Halen-sampling EP …

Tim Hecker's central Jetone releases (2000-2006)

I started doing minimal techno over a menstruation of possibly a year, through the entrails of the IDM scene. I sent a demo to Force Inc., having heard what insane advances they were giving out to completely unknown artists. Information technology all worked out.

Force Inc./Mille Plateaux seemed like the aureate age of electronic music. They didn't work out however. The hubris and gravitas in that Frankfurt function was quite an intense experience–one which I oasis't come beyond since. I let the project become not because I wasn't into techno; it just seemed like the right matter to practise was to focus on one approach to composing music. That was fairly different than some of the musicians I knew who had multiple pseudonyms churning out a diverseness of electronic musical styles on a given twenty-four hour period. I wanted to de-schizophrenize and focus on what was nearly important to me.

[audio:http://www.self-titledmag.com/wp-content/uploads/audio4/Electrical%20Ladyland_%20Clickhop%20Version%201.0_Various%20Artists%20-%20Mille%20Plateaux_9_Data-Party%20.mp3]

Jetone, "Data Party"

Haunt Me, Haunt Me Do It Again (Subtractif/Alien8, 2001)

This came out of the flow where I was working on minimal techno, composing these little interludes betwixt the metronomic pulse of the main course tracks. I had then many of these that I assembled a separate anthology that became Haunt Me. A lot of the ideas I was interested in and so I'yard still working on at present and became the sort of beginning of a compositional arc that spans to this twenty-four hours. The guys at Alien8 were local compatriots; it was easy and it all made sense.

[audio:http://www.self-titledmag.com/wp-content/uploads/audio4/01%20Music%20For%20Tundra.mp3]

Tim Hecker, "Music For Tundra"

My Love Is Rotten to the Core (Subtractif/Alien8, 2002)

This EP was actually a commissioned work. A local audio curator, Eric Mattson, was organizing a show based on sampling aesthetics. I was listening to quite a bit of Van Halen at the fourth dimension. I only learned about the pathos and tragedy of David Lee Roth through working on this record. So I took a bunch of cock-rock radio talk show samples–primarily a tease Eddie Van Halen was doing to offer DLR a way back into the band, only to pull a 'psych!' afterwards DLR showed the love and wanted to get dorsum together.

Perhaps that doesn't drain through the music on the EP, only information technology was at the ground of my try to build a tidal wave of testosterone rock.

[sound:http://www.self-titledmag.com/wp-content/uploads/audio4/My%20Love%20Is%20Rotten%20To%20The%20Core_Tim%20Hecker_2_Sammy%20Loves%20Eddie%20Hates%20David.mp3]

"Sammy Loves Eddie Hates David"

Radio Amor (Mille Plateaux, 2003)

I did this one on Mille Plateaux just every bit the well was drying up. Past then the advances were dwarf-offerings in comparison to what they were before. Label management shifted their afternoons from phone calls about distribution and licensing to table trip the light fantastic sessions, alcohol and vice. And royalties never happened. Musically I was putting more of my computer through guitar pedals and baloney–treating information technology like an electric guitar or something. It was quite a revelation at the fourth dimension to merely dethrone the pristine digital audio signals though cheap Japanese space-echo replicas made in the '70s.

[sound:http://www.cocky-titledmag.com/wp-content/uploads/audio4/01%20Song%20Of%20The%20Highwire%20Shrimper.mp3]

"Song of the Highwire Shrimper"

Mirages (Alien8, 2004)

I honestly barely remember what'due south on this record, but do recall that it was an attempt at a more dark patina. I made it in a room that was no bigger than a cupboard. Its virtually impossible to monitor sound properly in an environment where y'all hear the reflections more than the master source. Somehow I retrieve it worked out okay; peradventure fifty-fifty better that I had little clue I didn't know what I was doing and so.

Like with most of my records, I had fun constructing a narrative around what these abstract harmonic offerings really were about. Radio Amor was an homage to a Caribbean-Latino shrimp fisherman named "Jimmy," every bit he listened to music through crapped-out shortwave transmissions.

For this album, I remember it was lullabies of the ruby-horned deer uttering midnight whispers in one'due south ear.

[audio:http://www.self-titledmag.com/wp-content/uploads/audio4/04%20Celestina.mp3]

"Celestina"

Harmony in Ultraviolet (Kranky, 2006)

This tape was fabricated during a menses of fantastic optimism, both personally and musically. I'm not sure if that comes through at all though. Funny affair is I only did an interview which considered it the darkest ane. For this record I had a very large room as a studio, and woke up early and drank green tea on those cute early 2006 spring mornings. It was the contrary of the bleary-eyed late night figurer jam sessions this music might invoke.

I was also happy to piece of work with Kranky, which was a label I've admired since their early on days. Communication there was the inverse of that Frankfurt function.

[audio:http://www.self-titledmag.com/wp-content/uploads/audio4/05%20Dungeoneering.mp3]

"Dungeoneering"

Norberg (Room 40, 2007)

Norberg was recorded in an abandoned mine in rural Sweden. They host a very strange DIY festival there each summer. I shared a neb with Mira Calix and Lasse Marhaug. The reverb was massive, which I'm not sure complimented the 20-thirty 2nd studio reverb tails I was using since the Harmony album. Then I had to surrender to the bellows of the deep chasms and ride the monster-reverb, just I call back the recording turned out okay.

An Imaginary Country (Kranky, 2009)

On this record, I sort of decided to back abroad from the void of intensity/immensity/darkness or whatever descriptor you want to refer to recent by efforts as being. I sort of felt that if information technology would open up up a claret sky or something like that. I wanted to use more pulses, not as any sort of return to techno, but simply to attempt a different route towards musical brainchild.

I idea Steve Reich-ian pulses havent really been explored that well, especially if one pushed pulses away from their associations (at least in my listen) with sophisticated New Yorkers towards something else. Who knows where?

But this album definitely failed at that one. Instead it became a symphony of mostly distorted mellotron…

[audio:http://www.self-titledmag.com/wp-content/uploads/audio4/02%20Sea%20of%20Pulses.mp3]

"Sea of Pulses"

[audio:http://www.cocky-titledmag.com/wp-content/uploads/audio4/08%20Paragon%20Point.mp3]

"Paragon Indicate"

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Source: https://www.self-titledmag.com/disco-from-reckless-record-execs-to-diamond-dave-samples-tim-hecker-tells-the-stories-behind-all-that-snap-crackle-pop-business/