Florian Hecker - Hecker Höller Tracks

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4...according to our Mingus on Thu 20 Dec, 2007.

Hecker,Holler, 'Tracks' (Semishigure) Double LP of Post-music from the boffin of all boffins on the boffin scene that is the international sound art circuit. You can either consume this as some sort of non-music, post post-. It's way beyond what you may have heard before. Highly repetitive blocks of sound shuffled around, budged, smudged, rolled and dusted through some custom made software that us mere mortals would probably find hard to comprehend. I'm having to fire this review off at double-quick pace as it's doing The Man At The Helm's ears (and mind ) in...It'll work for: Boffins and wannabe boffins, those that want to be challenged and academic musicologists.The insect theme makes it's bow as is the case with newly birthed experiments in sound art. Don't know what the concept is but the textures and sculpting demand a focused immersion. If you're not into pushing your listening pleasure beyond mere soft focus, wallpaper or furniture electronica then stay well away.

Spending time together in Gothenburg in the spring of 2003, Florian Hecker and Carsten Höller discovered that they don't share only a passion for Munich's culinary speciality Saures Lüngerl. Carsten later driving off to Berlin, equipped with a single CD-R of some unreleased Hecker tracks playing on heavy rotation in his car, and Florian enjoying the Upside Down Goggles, they said goodbye, but not for long. Once Florian mentioned to Carsten his fascination for psycho acoustics, he soon found a CD of Diana Deutsch's famous Musical Illusions in his mail box, followed by an invitation to conceive a sound piece to accompany Carsten’s Light Wall, then planned as a contribution to 2003's Nuit Blanche to be held at Gare de Lyon, Paris. He made a series of tracks, all using a super abundance of Acid Phase Inversion, intensively klickering hypnotic pulsars, crescendos of Precedence Effects, and eventually titled them Höller Tracks. The shifting pulsars opened in two microtonally different versions in two identically empty rooms in the museum. The piece which actually was on display at the museum can be found in its two different versions on a DVD with the published book, and in again another slightly different version on his album Recordings for Rephlex. This was the driest, most sober take out of all the Höller Tracks.

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