Insert your custom message here. close ×

Tim Hecker

Tim Hecker’s work is more clearly ambient than Christian Fennesz’s. Greater use of conventional instrumentation with the judicious use of noise makes it possible for his work to fade into the background, while still being compelling.


Hecker is concerned with timing, placement, and taste. Often there is one overriding idea. Prism, from Virgins is an example. It starts with a processed organ pad (?) that gets interrupted by a seven-beat phrase at regular intervals.

The seven-beat phrase itself is attention-grabbing in its combination of simplicity and strangeness. It’s essentially an uncomplicated melody that’s sliced somewhere in the middle and time-shifted slightly, giving it an arresting quality. Bits of the phrase continue ghost-like after the fact. The ear tries to capture these, and the listener becomes an active participant.

Try to hold the organ pad in your ear, and you’ll hear it evolve slightly. Or is that just an aural hallucination?



Imagine a painting, something representational, a landscape or a portrait with undried paint. Now imagine smearing the paint across the canvas.

Hecker uses this effect aurally by creating upward gissandos with entire organ chords beginning around the two-minute mark. The effect is a wiping away of some of the existing sound. The ghost of the seven-beat phrase remains.

Tim Hecker is an ambient composer who creates music that encourages you to listen to it. While it’s possible to ignore, it never becomes aural wallpaper.


Share : facebooktwittergoogle plus

No Response

Leave us a comment

No comment posted yet.

Leave a Reply