Tim Hecker
Virgins

When in the 1950s the first electronic music was being composed, radio studios were equipped not only with oscillators but also with white noise generators. Instruments necessary for certain electrical measurements and later used by musicians as well. White noise is a signal that, besides lacking periodicity, is characterized by a spectrum that includes all frequencies with equal amplitude. The name denotes the analogy with the color white, which similarly contains all the wavelengths of different colors with the same intensity. Many composers have creatively used white noise, just as sculptors use marble, by "extracting" structured forms from the material, the composer extracts new and refined sounds from white noise.

Virgins is the successor to the acclaimed Ravedeath 1972. With the trilogy Ravedeath - Dropped Pianos (EP) - Virgins, Hecker confirms his golden moment. Producing two little gems one after the other is certainly not for everyone, we know, but the Canadian's artistic value has never been questioned. Virgins indeed still stands on very high levels. The organ is now replaced by the piano, at times slow and melodic, at times "strumming" and minimal. Halfway between Steve Reich and Charlemagne Palestine, combined with Hecker's unmistakable touch, the sound of the album proudly differs from any previous production by the artist.

The fundamental stylistic traits of Hecker do not change. If anything, the mode of listening changes. The narrative is indeed less dark and decadent compared to previous works. If Ravedeath 1972 was a nightmare, a burning cathedral collapsing into pieces, Virgins, while maintaining "suffocating" sounds, is itself a manifesto of ethereality and a happy ending.
On the technical side, the use of drones is, as always, fundamental, noises and distortions are still well present, although the piano often willingly takes the role of the absolute protagonist. Also crucial is the continuation of the collaboration between Hecker and Ben Frost (Live Room seems to come straight out of a Frost album, thanks to the classic modulation of distortion and the violent digital shocks typical of the Australian).

Hecker's music is one of the most powerful transducers of recent years. Electric shocks hit and vibrate the bones and mind of the listener.
Usual dream journey. In fact, to be honest, with something more than usual, I'd say that something that only great albums like this can have and manage to preserve over time.