“Few modern performers manipulate sound quite as aggressively or effectively as Tim Hecker and Daniel Lopatin (Oneohtrix Point Never).” —NPR
Minneapolis, September 10, 2013—Two leading international electronic experimentalists share an aurally adventurous evening of light and shadow that dips deep into drone, ambient, distortion, and beyond. Tim Hecker and Daniel Lopatin (Oneohtrix Point Never) perform on Saturday, November 16, at 8 pm in the William and Nadine McGuire Theater. The show begins in near darkness with Tim Hecker’s physical and emotive exploration of noise, dissonance, and melody—“foreboding, abstract pieces in which static and sub-bass rumbles open up around slow moving notes and chords, like fissures in the earth waiting to swallow them whole” (New York Times). A special collaboration closes the night as Oneohtrix Point Never—known for lush and layered pieces formed by sound swatches and electronic washes punctuated with field recordings and sampled loops—joins forces with media artist Nate Boyce and his hallucinatory computer-generated films for an eye-popping and ear-opening investigation into sound and vision. Note: Performance may include extreme strobe effects.
Copresented with the SPCO’s Liquid Music series.
Tim Hecker is a Canadian-based musician and sound artist, born in Vancouver. Since 1996, he has produced a range of audio works for Kranky, Alien8, Mille Plateaux, Room40, Force Inc, Staalplaat, and Fat Cat. His works have been described as “structured ambient,” “tectonic color plates” and “cathedral electronic music.” More to the point, he has focused on exploring the intersection of noise, dissonance and melody, fostering an approach to songcraft which is both physical and emotive. The New York Times has described his work as “foreboding, abstract pieces in which static and sub-bass rumbles open up around slow moving notes and chords, like fissures in the earth waiting to swallow them whole.” His Harmony in Ultraviolet received critical acclaim, including being recognized by Pitchfork as a top recording of 2006. Radio Amor was also recognized as a key recording of 2003 by Wire magazine. 2011’s Ravedeath, 1972 was very well received by music fans and critics, including Pitchfork who commented “Ravedeath, 1972, a dark and often claustrophobic record that is arguably Hecker’s finest work to date.”
On October 14, the Kranky label will release the anticipated follow up to Ravedeath, 1972, Virgins, and the buzz is already building after the preview track ‘Virginal II’ was previewed widely online. His work has also included commissions for contemporary dance, sound-art installations, as well as various writings. He currently resides in Montreal.
Oneohtrix Point Never
Brooklyn-based experimental musician Daniel Lopatin plays and records under his own name, as well as with projects including Infinity Window, Oneohtrix Point Never, and Ford & Lopatin (formerly known as Games), crafting music that encompasses flowing electronics; ambient drones and excursions into noise; and forays into adventurous sampling. Inspired by the synth sounds of Mahavishnu Orchestra and Stevie Wonder in his father’s record collection, as well as classic video game soundtracks such as Metroid, Lopatin began recording in the late ‘90s and early 2000s, and the fruits of his labor began emerging in 2007 with Oneohtrix Point Never’s debut album, Betrayed in the Octagon. The following year saw the release of a cassette-only album, Transmat Memories, and in 2009 Lopatin released two more OPN albums, Russian Mind and Zones Without People. Tracks from these albums, Betrayed in the Octagon, and the cassette releases were compiled into Rifts, which arrived late in 2009 on the Mexican Summer label. In 2010, Lopatin issued another Oneohtrix album, Returnal, and began working with Tigercity’sJoel Ford as the ‘80s synth pop revivalist outfit Games (which subsequently changed its name to Ford & Lopatin). Lopatin’s main projects each issued albums in 2011: Ford & Lopatin’s debut Channel Pressure and Oneohtrix Point Never’s Replica, which featured samples of ‘80s commercials in its hypnotic web of sounds. Instrumental Tourist, a collaboration with Tim Hecker that appeared on Lopatin and Ford’s Mexican Summer imprint Software, and production work on Clinic’s album Free Reign were among Lopatin’s 2012 credits.
His new release, R Plus 7, is due out on Warp records on September 30.
Artist Biography by Heather Phares via All Music.com
Tickets to Tim Hecker and Oneohtrix Point Never are $20 ($18 Walker members) and are available at walkerart.org/tickets or by calling 612.375.7600
The Walker Art Center’s performing arts programs are made possible by generous support from the Doris Duke Charitable Foundation through the Doris Duke Performing Arts Fund, the William and Nadine McGuire Commissioning Fund, the Andrew W. Mellon Foundation, and the National Endowment for the Arts.
Performing Arts programs and commissions at the Walker are generously supported by members of the Producers’ Council: Russell Cowles; Sage Cowles; Nor Hall and Roger Hale; King’s Fountain/Barbara Watson Pillsbury and Henry Pillsbury; Emily Maltz; Dr. William W. and Nadine M. McGuire; Leni and David Moore, Jr.; Mike and Elizabeth Sweeney; and Frances and Frank Wilkinson.
Walker Art Center
One of the most celebrated art museums in the country, the Walker Art Center is known for presenting today’s most compelling artists, as well as modern masters, including Andy Warhol, Matthew Barney, Jasper Johns, Yoko Ono, Robert Rauschenberg, Mark Rothko, and Kara Walker. In addition to traveling exhibitions and its world-renowned collection, the Walker presents a broad array of contemporary music, dance, and theater, and the best in film from around the world and down the block. The Walker’s 11-acre Minneapolis Sculpture Garden is one of the country’s largest urban sculpture parks. At its center is the beloved Twin Cities landmark—the playful fountain-sculpture Spoonbridge and Cherry. The Garden features more than 40 works of art and the Cowles Conservatory.
Liquid Music is a new concert series presented by The Saint Paul Chamber Orchestra that seeks to expand the world of classical music through innovative new projects, boundary-defying artists, and unique presentation formats. Liquid Music performances invite adventurous audiences of all ages to discover the new and the fascinating among the kaleidoscopic landscape of classical music today. www.thespco.org/liquidmusic