Experimential composer Tim Hecker’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.