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Sound artist Tim Hecker has held our ears ever since we heard him with Daniel Lopatin at Roulette. Classicalite caught up with Hecker to chat about working with legends Conners, Dessner and Parry and to catch a glimpse of what he's up to next. Classicalite: Let's get started talking about your involvement with the Tinnitus Music Series, which focuses on composers or works of extreme sound. Clite: Is there any one artist or musician you can say that you’ve really drawn inspiration from that came out of the Black Mountain scene?
Clite: Do you think that takes away from the chance to fully engage in the area you are touring in? Music Times Network is always looking for well-versed, enthusiastic contributors and interns.Submit your application today!

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Hecker plays a big part in Richard Reed Parry and Bryce Dessner's Black Mountain Songs, a massive choral piece at the Brooklyn Academy of Music that celebrates the collaborative spirit of that Appalachian institution.
What would you say was different about Virgins, as compared to, say, something like Ravedeath, 1972.
It was kind of a fantastic cluster of art and people working in this really out of the way place, quite some time ago. Were you in the same room at the same time working with Bryce and Richard, Jherek [Bischoff] and Caroline [Shaw], etc.? After that, it’s pretty much traveling, while I work on material and do other things.

I think it’s kind of relative, in terms of the aspects of noise or intensity I used compared to other people. Bryce kind of wrote a piece together with me, and he’s at BAM right now putting it together--writing the final arrangement. Touring is hard because it’s difficult to maintain a working rhythm--seeing ideas through, which takes time, repetition and daily practice.

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