No Highs

Album review

No Highs is described as Tim Hecker's reaction to the "false positive corporate ambient" featured in popular playlists on streaming services -- some of which have given major exposure to Hecker's own work. While Hecker's music generally fits under the category of ambient, it's never been the type of safe, soothing ambient solely meant to function as background music. His recordings can be harsh, abrasive, and disruptive, channeling chaos and unpredictability into absorbing compositions that can be downright devastating, depending on the listener's emotional state. No Highs especially focuses on dealing with depression, anxiety, and isolation, and its pieces often feel nervous and unbalanced. "Monotony" begins with a post-minimalist pulse, with distorted synth clouds rising as sorrowful horns swoop downward. While the piece becomes thick with tension, it doesn't reach the point of total breakdown, even as it grapples with conflicting emotions. The album's other lengthy selections similarly float to the edge without tipping over, but there's still a prevalent sense of fear and slight confusion. Other tracks are more compact bursts of desolation, such as "Total Garbage," which brings to mind the way Ryuichi Sakamoto's final albums reflected on mortality, yet reveals a greater sense of inner turmoil. Saxophonist Colin Stetson plays a major role in expressing these uneasy emotions, and he's given the spotlight on "Monotony II," performing a spellbinding sequence before dissolving into the ether. The final track bears the satirical title "Living Spa Water," and while it does seem to convey a feeling of weightlessness, it's somewhere between a replenishing bath and an out-of-body experience.

© Paul Simpson /TiVo