Most Helpful Customer Reviews
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18 of 19 people found the following review helpful:
5.0 out of 5 stars
Utter genius, December 8, 2006
The review by the San Fran guy's pretty much sum it up but I'll add this.
I often think of Hecker's sound as utter desolation, the last days of civilisation. I know in parts it can be uplifting (a few moments in Amour and Haunt Me especially) but for me it's the starkness and atmosphere that seperate it from anything else before.
Remember the Voyager space probe ? Travelling at million miles per day, 9 billion miles from the Sun and racing out of our solar system and into the infinite void of interstellar space ?
Well Harmony in Ultraviolet is it's soundtrack.
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13 of 13 people found the following review helpful:
5.0 out of 5 stars
Harmony in Ultraviolet, June 6, 2007
We all knew that Tim Hecker had it in him--an A-plus after so many A-minuses, an album that fulfills all the promises of the respectively excellent Mirages and Radio Amor. Harmony's unified ambient suite is capable of releasing emotions that you never knew you had, laying the tension on thick and using the beatless format to pulsate, tug and spill over at just the right moments. Beneath the white noise decay and the frightening sound effects (scissors, helicopter blades) lies a deep core of sadness gripped by anxiety, and the unnerving paradox of extreme violence and ultimate serenity. Harmony in Ultraviolet is the soundtrack to the most cathartic 50 minutes of your life, and chronicles the longings of the heart more effectively than any piece of music in recent memory, ambient or otherwise.
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23 of 27 people found the following review helpful:
5.0 out of 5 stars
Each song a weather worn snapshot, frayed and dusty, comfortable and lived in sounding., November 14, 2006
Imagine the most beautiful music in the world. Then with an old thrift store camera, take a super grainy snapshot of that music. Fold up the photo and place it in an envelope and mail it to an address that no longer exists. 20 years later, happen upon an old abandoned post office, and discover that letter unopened, but browned with age, remove the photo and place it in your pocket. Lose those pants on a camping trip, only to discover them the next summer, all wadded up in a corner, sprinkled with a years worth of dust and cobwebs. Wash the pants, and only afterwards discover the photo. Prop in up in the window of the cabin to dry, where it sits soaking up the sun for the whole summer. Right before you leave, grab the photo of the most beautiful music in the world and place it in your book to mark your place. Place the book back on your shelf and forget all about it. Move several times over the course of the next several years, finally unpacking a dusty old trunk filled with books. Leaf through several of them, when suddenly the most beautiful music in the world flutters to the floor, dusty and tattered, worn and nearly transparent. Finally, tear it up into tiny pieces and drop them one by one into the speaker of an antique victrola, wind it up and what comes out will be Tim Hecker's Harmony In Ultraviolet.
We often reference Hecker when reviewing records by other practitioners of a similar soundmaking process, but there's something so pure and organic about the way Hecker composes and creates, how he deftly assembles and degrades his sounds and songs and melodies. Managing to sound modern but antiquated at the same time, viewing the world through sleep filled eyes, everything soft and fuzzy, sometimes intense and ominous, sometimes even dark and downright scary, but always suffused with a shimmering radiant warmth, making all of his sounds glow from within. Each song a weather worn snapshot, frayed and dusty, comfortable and lived in sounding. It's a music that requires close listening, a subtly immersive sound, but once inside it, once the sound is all around you, only then can you pick out all of the details, hear the hidden melodies, only then can you let go, and get completely lost in Hecker's gorgeous world of mysterious sound. Some of the most beautiful music in the world indeed.
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by Tim Hecker 
