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Instrumental Tourist

By tim hecker and daniel lopatin.

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Software Recording Co. Brooklyn, New York

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First Listen

First listen: tim hecker & daniel lopatin, 'instrumental tourist', tim hecker & daniel lopatin, 'instrumental tourist'.

Tim Hecker and Daniel Lopatin's new album, Instrumental Tourist, comes out Nov. 20. Spencer C. Yeh/Courtesy of the artist hide caption

Tim Hecker and Daniel Lopatin's new album, Instrumental Tourist, comes out Nov. 20.

Audio for this feature is no longer available.

Few modern performers manipulate sound quite as aggressively or effectively as Tim Hecker and Daniel Lopatin. Both are pioneering electronic musicians: Lopatin operates under the name Oneohtrix Point Never, while Hecker has been making innovative solo records since the beginning of this century.

The crafting of sound that goes on in their collaboration — and in a concert of theirs I witnessed recently at Moogfest — feels a bit like improvisations by two talented but outlandish jazz musicians. The sparks fly on Instrumental Tourist , as the album's soundscapes hypnotize, jar, fascinate and even annoy. There's a sense of playfulness to Hecker and Lopatin's work, even as it's virtually impossible to tell who's playing what. The two are nearly indistinguishable on Instrumental Tourist , forming a single enveloping organism even as they dump their own daring and distinct ideas into the mix.

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Instrumental Tourist

Album review of instrumental tourist by tim hecker..

Release Date: Nov 19, 2012

Genre(s): Electronic, Ambient, Pop/Rock, Experimental Ambient, Glitch

Record label: Software

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Album Review: Instrumental Tourist by Tim Hecker

Very good, based on 16 critics.

Hecker and Lopatin are perhaps the most preeminent figures currently making ambient music but the strength of this record comes from their disregard for coherence and disinterest in finding common ground. Their warring improvisations are intriguing, unsettling and often exquisite. The record is built from swatches of sound, ripped, stitched and ruptured into radiophonic disharmony.

Full Review >>

The first volume of SSTUDIOS, a series of collaborative releases released on Daniel Lopatin's Software imprint, Instrumental Tourist pairs Lopatin with Tim Hecker, another artist who excels at drone-based electronic music, on a set of largely improvised songs. Most of the album doesn't feel like a meeting of the minds so much as a melding of them. It's difficult, in the best possible way, to tell which artist contributed which elements to any given track; one could make a guess about the glitches and torqued string melody on a piece like "Uptown Psychedelia," but the way Hecker and Lopatin combine their styles into a versatile mix of melody, drone, and distortion on "Ritual for Consumption" and the title track is too seamless to dissect.

There probably aren't two electronic artists making music right now who fit together better than Daniel Lopatin (Oneohtrix Point Never, Ford & Lopatin) and Tim Hecker. On their solo albums, both men have made art out of surprising and sometimes uncomfortable reimaginings of ambient, drone, and trip-hop, albeit in different ways. Hecker's work is generated with vintage keyboards and creates a sort of "sonic decay," while Lopatin's output as Oneohtrix Point Never focuses more on repeating melodies and the interruptions of those melodies.

In the world of instrumental electronic music, you're nothing without your own sound. Without vocals and without an instrument that you can manipulate with your body, it's harder to insert "you" into the music. And harder still to have that "you" be so thoroughly "you" that listeners pick up on it and can identify you from your sonics alone. Both Tim Hecker and Daniel Lopatin (better known as Oneohtrix Point Never) have gotten there.

Tim Hecker and Daniel LopatinInstrumental Tourist[Software Recording Co. ; 2012]By Colin Joyce; December 5, 2012Purchase at: Insound (Vinyl) | Amazon (MP3 & CD) | iTunes | MOGIt’s a curious prospect, the musical marraige of perhaps the two most visible heads of a genre, but such is the state of ambient music in 2012, and with a notable exception in perhaps the continued presence of the Godfather of the genre, Brian Eno, Daniel Lopatin and Tim Hecker have become it. That’s not to say that these dudes haven’t put in the work.

Composers Tim Hecker and Daniel Lopatin make broad assumptions in their music. They assume you have all the time in the world, and that you have an affinity for twitchy experimental blends. Their sounds are tough to endure at times and you have to be in a pensive mood to enjoy them. But that’s what makes Hecker and Lopatin stand out: their music is a meticulous exercise of creative freedom, and an alternative to the mundane, even if you’re not sure what you’re hearing.

When two well-respected genre innovators join forces for one unified effort, corny phrases like “all-star collaboration” and “dream team” often get thrown around in anticipation. And while these phrases might seem applicable in referring to Instrumental Tourist, which features drone-masters Tim Hecker and Daniel Lopatin (of Oneohtrix Point Never), it’s important to remember that these artists make music that is incredibly anti “all-star. ” While some musicians in other electronic or experimental genres like to hide their identity to detach themselves from their music, anonymity is almost second-hand to ambient/drone artists.

The phrase “Instrumental Tourist,” the title of this collaborative album by Tim Hecker and Daniel Lopatin (Oneohtrix Point Never), denotes a sense of control from the outside. The tourist is someone on an excursion, and to be instrumental is to be without agency, or at least with an agency framed by or angled toward a larger goal. What does it mean to be an “Instrumental Tourist” other than to be displaced yet useful? Instrumental Tourist, then, can perhaps be seen as an allegory for the state of humanity both today and as it has always been.

Cosmic collaboration from two electronic masters…In an early interview Daniel Lopatin, aka Oneohtrix Point Never, attributed his hermetic sonic obsession and reluctance to play in a band to megalomania. Listening to the reticent cosmic melancholy of his music – most famously his “echojam” “Nobody’s Here”, which spliced an ectoplasmic sliver of Chris De Burgh’s “The Lady In Red” to a pixilated clip from an old Mario Kart game – you might have taken that confession with a cellarful of salt. Nevertheless since 2009’s compilation Rifts brought his work to a wider audience, he’s got into the (altered) zone, and is now shaping up to be hardest working man in dronebiz.

Cleanliness is next to godliness. It's a phrase beloved of disapproving grandmothers and prissy flatmates, but not one with which you suspect Tim Hecker concurs. For while the Canadian artist's music has often explored the kind of transcendental states associated with religious reveries—most explicitly the pipe organs of 2011's Ravedeath, 1972—it's always been smeared with a dissonant hiss.

The pretentious art scene could honestly be a little more menacing. While definitely Unsound Festival material (where they just finished playing) with an unbridled—if not uncompromising—bent for the experimental, this collaboration between Tim Hecker and Daniel Lopatin (Oneohtrix Point Never) unfortunately buckles under the weight of its largely inaccessible vision. It’s one thing to be sublime, it’s quite another to be incomprehensible (though “Vaccination [for Thomas Mann]” does stand out as an unwavering tower of spatial beauty).

Tim Hecker and Daniel Lopatin are, for the moment, essentially the Big Names of the current ambient drone scene. Hecker has seen his star rise in recent years with the releases of Harmony in Ultraviolet and Ravedeath, 1972, albums which found Hecker creating suites of electronic drone that drift through each other until seemingly endless clouds of noise and static create a sense of both epiphany and dread. At his best, the most cathartic moments of a Godspeed You! Black Emperor or Silver Mt.

This is the first in a planned series of collaborations curated by NYC's Daniel Lopatin (aka Oneohtrix Point Never), this time featuring Juno-winning Montreal ambient drone maker Tim Hecker. The proceedings begin with "Uptown Psychedelia," one of the album's standout tracks, which is so Hecker-heavy you could be forgiven for asking, "So, where's Lopatin?" As the album progresses, the trademark sound of both musicians becomes apparent in the twisting interplay and Hecker's mountain-shaking distortion allows room for Lopatin's neo-kosmische noodling. Based on a three-day improv session at Mexican Summer studios in Brooklyn, NY, Hecker and Lopatin's goal was to jam using the clichéd sounds of an "Instruments of the World" MIDI pre-set suite.

Announcements that Daniel Lopatin and Tim Hecker were preparing a collaborative album had the Resident Advisor-faithful buzzing and Watch the Drone zingers abounding, and for good reason. As Oneohtrix Point Never, Lopatin joins undulating synths and an innovative form of plunderphonics ? early recordings consisted of miscellaneous sounds and loops that Lopatin excavated from YouTube while bored at a 9-to-5 ? to form some of the most powerful, and most unnerving, electronic music of the past few years. Hecker, meanwhile, has taken a much less intricate approach ? his sound is founded in massive synth waves and, usually, not much else ? but has proven just as immersive, thanks to his virtuosic sense of how even the most homogenous sounds can shift and build to create something mesmerizing.

One of every twenty-six heavy-hitting electronic musician collaborations for cash is actually worth a damn. I don't have the data in front of me this very second, but it's been scientifically proven. Together, artists who otherwise make stellar music alone do not necessarily comprise a supergroup. More often than not, these kinds of bromances total less than the sum of their parts, not more.

The unholy alliance of Canadian Tim Hecker and Oneohtrix Point Never’s Daniel Lopatin is a dissonant match made in hell. Both have become increasingly visible practitioners of drone smeared in hiss and distortion, almost like the sound of ailing machines gasping for breath. In this regard, ‘Instrumental Tourist’ is an ideal collaboration; Hecker’s constant interference always threatening to overtake – but never quite doing so – Lopatin’s bottom end sound waves.

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Tim Hecker & Daniel Lopatin Instrumental Tourist Ryan Alexander Diduck , November 22nd, 2012 14:11

This man's world is composed of little boys' clubs. Burial, Thom Yorke, and Four Tet; Dean Blunt and James Ferraro; Burial and Massive Attack; Breakage and Burial; Atoms for Peace … Loutallica -- they're something like secret societies. Boys love in-jokes and high-fives and treehouses and covert ops and complex knocks. There are reasons why priests and presidents and freemasons and David Icke all happen to be dudes. Despite the nefarious shit, they cobble together some pretty nice edifices too. All except David Icke.

If and when I picture audio, I liken it to architecture. Buildings constructed of fluctuating frequency, demolished and rebuilt through reverberation; living ziggurats that I want to be a tourist in for a while. The substantial solo works of Dan Lopatin and Tim Hecker are especially engineered thus. Hecker's cornerstone bass throbs and storeys-high harmonic distortion are naturally skeletal frameworks for Lopatin's elaborate frontispieces and ornamental flourishes. Instrumental Tourist is the infrastructure between two moody monuments, and also the groundwork for an important new assemblage. It's an intermittent architecture, a labyrinth of attractions made of sonics and confusing handshakes.

There's an equally procedural and playful auditory quality at work here, an intricate maze, all paths spiralling toward the centre, to the mountaintop. 'Vaccination (for Thomas Mann)' is a melancholy number that activates abruptly with the reflexive performance of self, out of tune, slightly, becoming majestic, a ceremonial ritual. The nervous and reiterative pulse of 'Whole Earth Tascam' measures out webs of synthesised choir around troubled strings. Highpoint 'Racist Drone' is the album's hallelujah chorus of cultural violence, forlorn chords masking the cries of a diseased koto. And 'Grey Geisha' invokes human traffic, the circulation of exploited souls, a cunning conversation between seductive pan flute and metallic melodic tendrils.

Still, everybody hates a tourist, especially when it all seems such a laugh. And there was a chance that this enterprise could chuckle itself into a corner. That's ultimately where quick collaborators for cash wind up, do they not? Nevertheless, it's evident that the project began a little slackened, as slapdash partnerships might, but became staid and sober when the duo realized how good it could be. No. When they recognized that they had a responsibility to establish it as it should be. Yes. It is well within range.

Because you produced the conditions for this record, dear listener. You bought and stole the Tim Hecker and Oneohtrix Point Never albums, and conferred their degrees, as it were. You paid or not for the expensive toys that these boys deploy in their clubhouses, to forge this esoteric noise. And you demand a masterpiece from fellow craftsmen. All drones are not created equal. This is uptown psychedelia, not downtown trash.

In the inaugural issue of the Whole Earth Catalog , luminary Stewart Brand writes, "We are as gods and might as well get good at it." In Instrumental Tourist , Hecker and Lopatin have struck upon a secret chord, traced sacred geometries, and laid a foundation sturdy enough to build upon. It's sound as structure, structurally sound.

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Instrumental Tourist

Tim hecker / daniel lopatin, (cd - software #sft 0176i), main album:.

Release Date

Allmusic review, track listing.

Tiny Mix Tapes

Styles: ambient, drone, experimental Others: Oneohtrix Point Never, Aidan Baker, Rene Hell

Uptown Psychedelia

The phrase “Instrumental Tourist,” the title of this collaborative album by Tim Hecker and Daniel Lopatin (Oneohtrix Point Never), denotes a sense of control from the outside. The tourist is someone on an excursion, and to be instrumental is to be without agency, or at least with an agency framed by or angled toward a larger goal. What does it mean to be an “Instrumental Tourist” other than to be displaced yet useful?

Instrumental Tourist , then, can perhaps be seen as an allegory for the state of humanity both today and as it has always been. While humanity is always subservient to the abstract or meta — whether under religion or science/technology — the abstract largely finds its origins in cognition itself — that is, religion is birthed from stories, while technology arose from our tinkering with the rules of earth. In both cases, we are the originators of larger ideologies and mythological processes to which we submit.

The pairing of Hecker and Lopatin isn’t too surprising. They both made their names in the cold extraction of meaning and beauty from the digital, an arguably perfect pair that here counters and dances wonderfully together. For Hecker, the distillation of nature down to sine waves is necessary for empirical understanding. Nature is text, and his text is built up from oscillations. Last year’s Ravedeath 1972 summed up Hecker’s ideas: spirituality is only a name for complex notions, while beauty could be found underneath. For Lopatin, the digital is instead a constructive tool, a way of drawing out essence — the humanity of the digital. The track “Nassau” from Replica gruesomely exposed the lapping tongue, glottal stop, the sucking in of breath, all of which are decidedly human and beautiful in their extracted states.

Two approaches, one unified sense of being: If Hecker hopes to break down that which is commodified through deconstruction, then Lopatin hopes to marvel over what is left through extraction; and all of this is done from the outside, as instrumental tourists. There is a notion or sense here of leaving the body, leaving our context to observe all contexts. But if the body is to be deconstructed further than even Holly Herndon ’s (via Deleuze) (de)territorialized state, then what’s left other than states of beingness?

Lopatin’s music has always leaned on notions of time and space and Hecker’s on situations. It makes sense then that the song titles are grounded in places, people, situations — “Uptown Psychedelia” being particularly striking. I’m reminded of the famous scene from Koyaanisqatsi called “The Grid,” which, like Instrumental Tourist , not only speaks to the microcosm that is consumerism and metropolitan life, but is also both mesmerizing and spiritual. If urban life is just a system, a stream of life forms as blood flowing throughout the body of the city, then this album aims to lift the listener out of the system. In this sense, Instrumental Tourist is an attempt to cleanse the listener of “urban discontinuity” and experience the world as a passenger (something that’s lost on a generation so used to being in control).

01. Uptown Psychedelia 02. Scene From a French Zoo 03. Vacinnation For Thomas Mann 04. Instrusions 05. Whole Earth Tascam 06. GRM Blue II 07. GRM Blue III 08. Racist Drone 09. Grey Geisha 10. Instrumental Tourist 11. Ritual for Consumption 12. Vaccination

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Instrumental Tourist

May 27, 2014 12 Songs, 54 minutes ℗ 2014 Software

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August 19 2014

RBMA Festival New York 2014

Photos by Erez Avissar and Tonje Thilesen from the Red Bull Music Academy Festival in New York last month, featuring Panda Bear (pictured), Hudson Mohawke, Wolf Eyes, Gunplay, David Byrne, Blood Orange, and more.

June 4 2014

Albums of the Year: Honorable Mention

Chosen by Pitchfork's editors, these albums didn't make our Top 50, but we thought they were among the most interesting of 2013 and deserved to be highlighted nonetheless.

December 17 2013

The Top 25 Album Covers of 2013

The 25 most eye-catching sleeves of the year including: Deafheaven's absolute pinkness, Tyler, the Creator's loony self-portrait, David Bowie's revisionist history, Savages' elegant minimalism, and Pharmakon's pretty, pretty maggots.

• by: Michael Renaud

December 5 2013

The Pitch ( 4 )

Krakow’s Unsound Festival Gets It Right

Nintendo 64's Hidden Musical Gems

• by: Nina Corcoran

8 Pitchfork Staffers Share Their Favorite Concerts of 2016 So Far

Tim Hecker on Kurt Cobain's Sweat and John Travolta’s Plastic Surgery

• by: Laura Snapes

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