Some time ago, my friend Jack got me into Tim Hecker, introducing me not only to an artist that would very quickly become a favorite of mine, but to an album that I turn to almost immediately when I want to read, write fiction, or add an absurd, tragically beautiful tone to my work day—Dropped Pianos, the sister album to Hecker's phenomenal Ravedeath, 1972, and yet for me (and Jack) the superior of the two records, if only by a slim margin. Daniel Lopatin I am less familiar with, though his work as Oneohtrix Point Never has impressed me, and has garnered phenomenal reviews across the board. My friend Paul, responding to my post on Twitter regarding the Hecker/Lopatin collaboration, guided me to Lopatin's work with Joel Ford (Games, Tigercity), which I intend to track down tomorrow at work after continuing to listen to NPR's stream of Instrumental Tourist.
So far, I'm damned impressed with the dark, eddying tone of Instrumental Tourist. I plan to write something more extensive once I better familiarize myself with the album as a whole, though I've heard enough to highly recommend giving it a listen, especially if you enjoyed Hecker's or Lopatin's previous offerings. Nothing like an ethereal, cinematic album to start one's week with, especially if, like me, you'll be starting that week in a cubicle, staring at a computer monitor, feeling like you are an insignificant minor player in a David Foster Wallace story.
Instrumental Tourist is out on 20 November 2012 courtesy of Software.