During the pandemic, Tim Hecker intensified his film scoring efforts, infusing horror films and dramas with his signature ambient sound. His contributions to projects like Brandon Cronenberg's "Infinity Pool" reflect a unique style that contrasts with contemporaries. Hecker’s latest album, "Shards," compiles leftover pieces from his film work, showcasing his diversity and ability to create immersive soundscapes that evoke emotions without explicit context. The album stands as a distinct artistic endeavor, with tracks that range from ominous to transcendent, establishing a haunting atmosphere reminiscent of classic cinema scores.
His amorphous combination of distended dronework and analog orchestration began to infect horror films and TV dramas like a haunted Hans Zimmer.
Hecker's heaving soundtracks aren't as instantly satisfying as, say, Trent Reznor, Daniel Lopatin, or Mica Levi's, but they inhabit a much darker and more mysterious space.
Even at a lithe 31 minutes, it serves as Hecker's most diverse work, an unfixed landscape that moves from shadowy to frigid to transcendent with ease.
Romantic and ominous, opener "Heaven Will Come" is Blade Runner if scored by Krzysztof Penderecki: a smoky, pulseless electronic fog that builds into a swarm.
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