For the first decade of his career, the Canadian composer and sound artist Tim Hecker specialized in transmuting digital audio into thick miasmas of sound that combined orchestral richness with the sensory assault of noise music. But after reaching an apotheosis — and his largest audience to date — with his 2011 album “Ravedeath, 1972,” he decided to dial things down.

“That’s like a life project for me: just to make less,” he says, speaking by phone from Montreal. “When every aspect of EDM or pop music is so harmonically saturated now, why — what does that mean? Does that inherently mean it has teeth now? I’m not sure.”

Unable to view this article?

This could be due to a conflict with your ad-blocking or security software.

Please add japantimes.co.jp and piano.io to your list of allowed sites.

If this does not resolve the issue or you are unable to add the domains to your allowlist, please see out this support page.

We humbly apologize for the inconvenience.

In a time of both misinformation and too much information, quality journalism is more crucial than ever.
By subscribing, you can help us get the story right.