At this point in time, the concept of sampling feels “kind of ’90s” to Tim Hecker. 

“Samples as a thing,” he clarifies. “Everything I use now is some form of sample. I consider it almost like a hydro-geography for like, rivers of sound. It’s like you’re treating streams and making tributaries.”

Tim Hecker. Photo supplied

Hecker is about to launch into his first Australian tour in years, playing in Sydney’s Phoenix Central Park, Melbourne’s The Substation and Brisbane Powerhouse for the OHM Festival of Other Music. His previous Australian appearance – at Hobart’s Mona Foma, with Japanese gagaku musicians – was back in January 2020, the other side of COVID.

“I’m excited to come back,” he says. “A lot’s changed, you know, but also nothing’s changed.”

Hecker is a Canadian electronic musician who stands at the forefront of electroacoustic and ambient music. With early roots in the techno scene, his body of work now spans 11 studio albums, film scores (Infinity Pool, The North Water), collaborative works, remixes and sound...