|i am you||*.mp3|
those who are familiar with ben lukas boysen's 5 year catalog of work
will notice an important change while listening to this album. his
former creations can be seen as explorations of different sound facets
transforming boysen's feelings into music. it took time for this artist to subordinate the innumerable technical possibilities to become implements of his inner self, and he already began to walk this new
path with '0000'. now, boysen qualifies 'night falls' as a turning point in hecq's personal and musical history, and also as a conclusion of what hecq stood for until now.
artistic expression of personal experiences are often difficult because
these experiences often block the artist's creativity. in exceptional
cases it is possible to do, one of these cases is 'night falls'. the
predominant mood of the twelve tracks which were recorded as one continuous opus ranges from teariness and melancholy up to beauty and puissance, unleashed by discontent, the assurance to need a change, or even a stroke of fate.
never before has hecq's music implied such melodic and compositional
richness. comparing the music on 'night falls' with romantic classical
music seems imaginable; majestic strings interact with electronic
soundscapes to bring sentiments into being. this is a manifestation of a person who is aware that changes happen, and that changes have to be made. as boysen says: the sixth hecq album will be much more
different - this fifth one is the first of many new steps to follow.
a review in russian language can be found on the machinist's website:
a review in russian language can be found on sound protector's website:
those who are fond of ben lucas boysen (aka hecq) have probably got used to his style of working - complicated, twisting rhythmical constructions brightly demonstrating the triumph of technologies in contemporary electronic music. changes in the musician's mind could be heard at the end of 2007 when net-release infinite rounds took place. this release was lack of pseudonym (edition with original name of the author) as well as of rhythmical section (with the exception of central track). nevertheless the new album of this author turned to be unexpectable - the musician turned straight from energetic idm to deep and very gloomy ambient sound. night falls turns off the light in your room transforming it into a ship which slowly moves along endless dark corridors of reverberated string instruments, synthesized pads and samples of choir. also various sound elements are extremely harmoniously integrated into composition of the album, they make each part of the album unforgettable. for example, subtle hi-tech glitch effects in track dis, airy and romantic piano sound in quiet, exciting bending time or industrial field recordings in giants. night falls widens the space round us and makes us feel free about our thoughts and emotions: from light sadness and thoughtful staring into some emptiness to inexplicable alarm and anxiety. hecq has obviously gained a new level - music lost a great amount of difficult effects and rhythmical constructions but received a charge of feelings and emotions, ability to penetrate into soul's depths of a listener, to the remotest corners of his consciousness. (pi micron)
reflections of darkness
since his first release ‘a dried youth’ back in 2004, it was clear that no ordinary artist was controlling the machines and with every new album that appeared he evolved in his way of dealing with music technology and that he’s not willing to sound like anyone else. many people will also know him from his ‘hecq destruxxions’ he did for the last two albums of in strict confidence and the last psychobitch album. after releasing ‘0000’ last year, it’s now time for the next release, which indeed marks a turning point. track review: 01. nightfalls - 4:52: very quietly it starts with distant majestic string arrangements and choirs, suddenly getting closer to swell up to an orchestral intensity, just to return to the far away place they came from. you get the impression that with every-time the arrangement’s getting louder it also gets closer and much more intense. a feeling of melancholy, lost in time and space is floating through ‘nightfalls’ and leaves you behind with your own thoughts. 02. never leave - 5:43: calm choirs from a seemingly limitless distance are getting louder and louder mixed with mighty strings of a quality i’ve never heard before. a throbbing electronic pulse appears like an abstract form of a beat layer. the strings are taking over the control of your soul, wraps it inside a coat of wistfulness. the orchestral strings jump form one mood to the other within seconds. either they are dark and melancholic or uplifting. reverberation beats sneak under them, giving the whole song an even more monumental feeling. 03. dis - 6:08: at first i had to think of a proper way to describe this track and it would be best, if you would take it as a journey through different sound rooms filled with multi-various sounds of a kind you never even dared to imagine. the boundaries between the synthetic sound and the reality have broken and everything is floating into one another. you can hear a train passing by with all its usual sounds. did i hear someone passing me by a second ago? must be my imagination. everything’s filled with ultra-wide synth layers you can drown in but never reach the ground. you will fully delve into another world and forget everything that’s happening around you. electronic soundscapes and real sounds result in the most fascinating symbiosis so far. 04. dis (reverberation) - 1:52: it is like an echo from the past or from deep underground, where sounds are born to reach your ears only for a few seconds to disappear into the darkness again. in this case it must be something like a violin, which sounds so far away due to the enormous reverberation effects. 05. bending time - 4:56: the audience is sitting down and is now waiting for what’s to come. they’ve been invited to a very special concert, but you can’t see anything on that stage. all is black and dark, but suddenly spherical piano sounds emerge in the hall. everyone’s focussing on the stage, but still there’s nothing to see. where does that wonderfully played melody come from? quiet strings appear. barely audible to accentuate the piano and after the last sounds died away in silence, the concert already had cone to an end and even though they’re still not knew, who was playing there in the dark, they left the building with the memory of a very special concert and a melody, they’ll never forget. 06. aback - 3:08: a rhythmical almost percussion like beat sequence is starting accompanied by this disturbing sound, which already led us from the last track to the current one, but the actual star of ‘aback’ isn’t the beat that will slowly disappear as the time is passing by, it’s the strings that play the major part.. at first they’re just low echoes in the background but as the song goes on you’ll get aware of more details and a female voice gets audible sounding like an opera singer embedded in multi-layered strings creating an extremely intense atmosphere full of melancholy. maybe a bit of sadness and dreariness like staring out of the window to just see a grey sky… .07. come home - 5:14: a distant rumbling, just like an avalanche, getting closer and closer. then a metallic noise like the one you hear sometimes, when a train is rushing over the trails. the distant rumbling is still there, but it’s now surrounded by male and female choirs and mighty strings, so that you almost forget it’s there at all. the choirs don’t cease but suddenly you notice an electronic background, a feedback in the matrix. glitches appear later and various samples and recordings deliver the impression of big industrial machineries. 08. giants - 6:04: at the next stop of our journey, it feels like we’re entering an incredibly high tower. a giant fitting very well to the song title and while we’re standing down there, we can hear sounds, seemingly coming from every possible direction. we just can’t locate them exactly due to the heavy reverberation in that building, but it sounds like someone is working here. it’s a bit difficult to describe this properly, but it seems as if the electronic sounds used here are some kind of extension for the real life recordings, widening their sound spectrum ad infinitum and creating a whole new listening experience. 09. magnetism - 6:58: a microscopically sculptured glitch functions as a small intro to the world of ‘magnetism’. in physics, magnetism is one of the phenomena by which materials exert attractive or repulsive forces on other materials. transferred to this track this would mean layers and layers of wide synth arrangements would attract each other until they connect and maybe fuse to form another sound or already connected sounds repel and drift apart to fall back into the original shape. the result is in any case a constantly changing atmospheric network. 10. red sky - 3:52: when the sun is setting and the sky isn’t covered by clouds than you can see it turning red and it’s almost like the sky is burning and it’s a neat motive for photographers i guess. this track could be the perfect accentuation for it. i will surely try it when i get the possibility to watch the red sky again, but enough from me; we’re here for the music, which is unquestionable very special. the pitches of the choirs are changing dynamically without any gap. as fluently as the choirs the moods are changing too. from gloomy to hopeful within a few seconds. 11. above - 4:48: take a look up to the skies and listen closely, then you’ll hear spherical sounds coming down from the farthest layer of the heavens. a choir of a thousand voices is bewailing a symphony, while the distant sound of a violin spreads a breath of melancholy. sometimes it sounds a b it mistuned, but it always fills the skies with its distinct sound. 12. i am you - 9:12: now it’s already time to say goodbye. we’re reaching the end of our journey and what an end this is. this is by far the longest track on the album and even though i was not sure, what to expect it’s one of the most beautiful and breathtaking songs, you will get to know on ‘night falls’. i still can’t find words that could properly describe what i feel when listening to this song. it advances right into my soul, is touching me deep inside and brings me close to tears with every single listen the track is built up dramatically and even if you think you’ve already heard dense and atmospheric arrangements, but you haven’t heard something like this before. all the emotion the composer ,must have felt during the production must have been captured here and is unleashed every time the song is played, strings like from an orchestra, trumpets and gentle electronic beats are culminating up to a dramatic finale of a special album. conclusion: at first i have to say that even if this is a track by track review, the songs have been recorded as one continuous opus. a monument of sound if you like. sometimes it just isn’t necessary to use words and lyrics, they’re just disturbing. like in this case: the music of ‘night falls’ speaks for itself and creates pictures and stories in the listener’s mind. real life sounds are mixed with electronic sound and strings of an orchestral quality. speaking of quality, the production is on an extremely high technical al level. i would like to end this review with a translation of the german text, written on the front cover: “i am not myself. i am the one / walking by my side, without me seeing him, / the one i often visit and the one i often forget. / the one, who remains silent when i speak, / who gently forgives, when i hate, who wanders / where i’m not, who will stay upright, when i die.” (sebastian huhn)
on night falls from hecq the lights go out. it is completely dark on this new album of hecq and in that darkness the most beautiful compositions with romantic melancholic atmospheres unfold itself. on night falls hecq presents ambient in optima forma to which one could almost compare this intense sounding soundscape music to romantic classical music. the strings, piano and choir sounds add to this impression. on night falls really great melodies can be heard and only some sporadic clashing non-symphonic sounds. sometimes there is a point of rest with subtle electronic glitch sounds but the next moment the orchestral bombastic sound returns which characterizes many moments on night falls . it makes the music overwhelming and intense sounding at points. night falls seems to be a very personal album too as it addresses the sentiment and it is justified to state that it is a monumental album in hecq’s discography. (teknoir)
„wenn die nacht am tiefsten“, so sangen ton steine sterben. und es scheint so, dass das neueste werk von lukas boysen aka hecq wirklich in der tiefsten nacht entstanden ist. die meisten kennen hecq als genialen remixer, der unter anderem für in strict confidence ganze alben neu abgemischt hat. dabei sind seine eigenen werke eher außer acht gelassen worden. etwas verwunderlich, denn auch „night falls“, bereits das fünfte album, zeigt einmal mehr, welch geniale kompositionen lukas boysen auf lager hat. dabei beginnt „night falls“ eigentlich untypisch. die ersten beiden stücke, „night falls“ und „never leave“ arbeiten mit klassischen elementen. vor allem der einsatz von streichern verleiht den stücken etwas filmisches, ja geradezu majestätisches. auch „bending time“ ist mit seinen einsam verhallenden pianoklängen, gepaart mit breiten synthieflächen, eine sehr mysteriöse und gleichzeitig auch bewegende musik, die es selten in so hoher und vor allem kitschfreier qualität gibt. „aback“ arbeitet wieder mit traurigen streichern, durchzogen von elektronischen geräuschen und angedachten beats. auf diese weise hat hecq ein neues bild von sich erschaffen. waren die alten alben eher darauf bedacht, mit viel elektronikspielereien und abgehackten störgeräuschen ein etwas sehr surreales kopfkino zu provozieren, so sind die linien auf „night falls“ klar und deutlich, die stücke zwar immer noch sehr amorph, aber dennoch mit aussicht auf stringenz. die anspruchsvolle musik hecq’s wird sicherlich den cineasten begeistern. aber auch ganz objektiv betrachtet ist dieses werk einfach eine klasse für sich, das durch seine dichte und seine überraschungsmomente einfach zu überzeugen weiß! tipp! (nuuc)
wo techno seine basis in funk und disco hat, kann der idm partiell die vergangenheit in klassischer und sakraler musik nachgesagt werden. die opulenz und der pathos, die sich in den klangräumen entfalten, finden sich in beiden formen aufs äußerste ausgereizt. in ihnen verwirklicht sich der traum vom loslösen und von zeitlosigkeit. in der klassik übernehmen das schweben violinen- und bläseraufwartungen. in der elektronischen musik werden eben die synths entsprechend programmiert und ummoduliert. der weg ist somit nicht weit vom einen zum anderen, selbst wenn das hörerlebnis immer doch als ganzen grundverschieden ist.
hecq zumindest entleert seine klangdichten kompositionen auf seinem vierten album nun von allen rumpelnden beats und begibt sich in die reinform des endlosen klanggeflechts. riesige streicherkaskaden und pianotropfen stürzen minimalistisch arrangiert – was einer opulenz keineswegs zuwider läuft – nieder und erschaffen einen soundtrack des allraums. der 26jährige hat sich damit einen riesigen schritt von seinen früheren werken entfernt und bleibt ihnen dennoch äußerst nahe. seine markenzeichen, die brüche und störungen der ebenen, die stets einen riss durch die harmonie führen, bleiben unterschwellig allgegenwärtig. es ist eine mischung aus der schönheit des unendlichen und ehrfurcht vor dem kollaps, die hecqs musik hervorstechen lässt. es ist musik für das ende der zeit. (jens pacholsky)
vital weekly 629
german composer benny boysen was quite young when he began his musical explorations under the flag "hecq". from the five year old debut album "a dried youth" (kaleidoskop) to last year's "0000" (hymen records), hecq has drawn the lucky listener to sound worlds developed as a mixture of downbeat electronica, discreet beat pulses of clicks'n'cuts and atmospheric ambience. on his brand new effort no. 5, hecq has left the rhythm textures behind ultimately focusing on the sound of ambience. and the result is astonishing indeed. that hecq knows how to create otherworldly ambient has been confirmed by earlier albums, but present album titled "night falls" contains absolutely stunning images of deep ambient turning the memories back to legends of the space scene counting john serrie and michael stearns. the atmosphere is grandiose with space choirs and gently moving sheets of orchestral ambience making it sufficiently pompous as soundtracks for the planetarium industries. on "night falls", hecq once more shows his skills as master of electronic atmospheres. highly recommended! (nm)
picture yourself walking through the dark night and suddenly you will loose the ground beneath your feet - you'll fall deeper and deeper and close your eyes without any fear, because you hear a never heard before music. sounds never heard before will bestow you a safe and warm feeling. even in your darkest hour without any ground under your feet you are fascinated by the sound you hear... music with that outflanks the time. seconds become hours, hours loose their anchor and stop to count the vibrations. deeper and deeper you'll fall - a near death experience? no way! this is music that cleans your soul. at the end of this breathtaking journey you will feel the ground beneath your feet again with a satisfied and clean feeling. with “night falls” ben lukas boysen aka hecq sets a landmark, for music and for his producing. this album is the summary of hecq's view on music a resume after trying out different sounds, styles and techniques. this resume is surprising, absolute beautiful and pathbreaking. this album is perfect, made for the ones who are still able to close their eyes and dream.. not of the next superstar on your tv screen. a perfect ten!
platten aus den bereichen idm/ambient/experimental klingen (auch wenn die behauptung etwas verwegen scheint) oft ähnlich. da darf man schon zufrieden sein, wenn’s sich wie frühe warp-werke anhört. hecq verabschiedet sich mit dem album „night falls“ von diesem trott – und seinem ursprünglichen sound. „night falls“ ist leise abgespielt völlig unscheinbar und auch unhörbar, es bleibt überhaupt nichts hängen. um wirklich eintauchen zu können in die musikalischen welten des albums und um seine dimensionen wahrnehmen zu können, sind entweder kopfhörer oder hohe lautstärke angesagt. anders geht’s nicht. das liegt auch an der vollständigen abwesenheit von beats. in dem minimalistischen sound breiten sich klangflächen aus, die behutsam transformiert werden und nur wenige berührungspunkte haben mit anderen soundschnipseln. ich hab lange gerungen, ob das wort „soundscape“ hier treffend ist und tatsächlich liegt es nahe. denn die klangflächen klingen wirklich oft wie schwarze steinwüsten auf weit entfernten eisigen planeten. oder h.p. lovecrafts „berge des wahnsinns“. beim mehrmaligen durchhören wird aber deutlich, dass sich hinter den synthetischen kalten klängen große emotionen verbergen. einen hinweis darauf gibt auch schon ein wenig der opener „nightsfalls“, der mit viel ähnlichkeit zu einem choral, etwa mit dem leicht angedeuteten einstimmigen gesang, einen melancholischen, in sich gekehrten ton anschlägt. mit noch deutlicherer orgel knüpft „red sky“ an diese choral-ästhetik an und fängt dabei hervorragend die stimmung zwischen einsamkeit, ehrfurcht vor etwas größerem und christlichem „mitleiden“ ein. auch wenn allen tracks schon eine große wehmut und melancholie inne wohnt, ist es natürlich quatsch das album darauf zu reduzieren. aber es ist auch eine gute basis zu der man brüche im album abgrenzen kann. so fallen dann im fünften stück „bending time“ die regnerisch verhallten piano-töne auf. sie erinnern das erst mal daran, dass eigentlich hinter der musik ein mensch steht. an anderer stelle finden sich wiederum maschinengeräusche, die abermals eine ganz neue tür aufstoßen. so ergibt sich ein album, das dunkel, zerbrechlich und melancholisch ist. ein album, das einlädt zu entdecken: die töne, die kompositionen, die geradezu perfekten, herausragend produzierten klangformationen – aber auch ihre zerstörung und entartungen, die sich in glitch-manier ebenfalls an einigen stellen finden. und trotz aller inhaltlichen schwierigkeiten bleibt eine unumstößliche gewissheit. „night falls“ ist ein wunderschönes album. (s. krutzinna)
the silent ballet
hecq, aka ben lukas boysen, hasn't been getting much love over the past few years. originally an idm project, hecq released several cds on hymen in recent memory, which mostly fell on deaf ears. his music was certainly well crafted and technically proficient, but the style he chose to occupy his musical ambitions was long past fashionable, and, as a result, his talents went largely unnoticed. but, a great musician is a great musician, regardless of the type of music he plays, so it was only a matter of time before boysen would find himself in favorable lighting. nightfalls, his most recent release on hymen records, is an album that should put him on the radar for many music fans. the album sits in the dark ambient/slightly neo-classical territory that is well loved by followers of the miasmah and type labels. the beats are almost all removed, replaced now with with heavy, moody gothic undertones that are so tense you can literally cut them with a knife. as a german, we might liken boysen's latest outing to that of bersarin quartett, minus the electronics, but, again, you'll find it's much more in line with the european school of jacaszek, elegi, et al. boysen's new work is not for those with a case of attention deficit disorder, if it's not already clear. nightfalls progresses slowly, loves its tonality, and doesn’t come packaged with a lot of melody. melodies do appear, but stretched very thin over the sonic landscape, and generally in the form of classical instrumentation (strings, piano, etc). synths are processed so finely that it at times becomes difficult to tell the difference between instruments. the high shrills could be from a manipulated string instrument, or just a synthesizer trying really hard to sound like it's a real boy. regardless, boysen takes all of these elements and fashions them into his own sound during nightfalls. odds and ends emerge from a powerful ambient core, and that core is the backbone of the album that appears on every track, unifies the work, and gives it a glacial pace. highlights of the album include the surprisingly romantic title track, the synergistic "never leave," the minimal "bending time," the twisted "come home," and the thrilling closer, "i am you." each brings something different to the table, a different emotional investment, and all are pulled off smoothly while still furthering the development of the overarching album. "nightfalls" is a lighter track, one that is not yet as effected by hecq's general darkness, but "never leave" immediately plunges into the shadows. from there it's mostly a dark adventure, up until "i am you," which pokes its head through the clouds and brings some optimism back into the scenery. the closer is truly a delightful track, something that's worth the album's cost all by itself. "bending time" is the most soundtrack oriented of all the pieces (for the most part boysen -- thankfully -- avoids the soundtrack sub-niche), but it does sound great and is wonderfully included after the first third of the album; "red sky" attempts a similar trick near the end, but isn't as successful. which leaves "come home" as the midpoint of the album, and it's likely the most engaging, energetic track offered by boysen on this outing. an interesting blend of digital and found sound, it's sure to get repeated visits. if there's one thing i can call the album out on, it's that, with the exception of "i am you," the second half of the album is underdeveloped when compared to the first. some might mistake the album for being too long, but at just over an hour's length, i can't see any reason why it needs to be cut back. the last few tracks muck around without a whole lot of purpose, or simply kind of wander off the main theme. some of the very last tracks begin to pull from the tim hecker school of sound, which isn't exactly the most complementary to the first half of the disc. i do believe boysen prematurely begins to work on his follow-up to nightfalls near the end, which undercuts the power of the album itself. in any case, nightfalls gets a strong recommendation, and if "i am you" is any evidence, the next release will be even better. (lee whitefield)
as i turn my attention from ethereal to dark ambient, it is only appropriate that i cover the latest album from one of my all time favorite artists, hecq. last year, i already hailed ben lukas boysen's double disk release, titled 0000, as one of the best of 2007 albums. it perfectly aligned along my favorite elements of grandiose orchestral sound and punctuated idm beats. upon my first listen of hecq's fifth album, i anxiously await the glitchy breaks that are so prominent in hecq's previous albums. alas they never come. and with this proclamation, boysen creates a new sound in which he instantly excels. appropriately titled, night falls, boysen drops the rhythmic structure altogether, and produces one of the most inspiring, lush, atmospheric and hauntingly dark pieces i have heard to date. there is a continuous cinematic tension of something hiding right beneath the shadow of a thinly layered sonic veil. night falls is an album that stops you dead in your tracks to really listen. what is that brooding sound, and does it have a name? i will not hide the fact, that with each swell of dynamic wave, the emotion within me rises as well, and i fight back the tears at the tip of each crescendo. with outstanding production and masterful control of individual frequencies, hecq propels his sound techniques from a mere post-industrial idm producer to a contemporary neo-classical composer. hymen should be proud. reminiscent of murcof, lusine icl, kattoo, nebulo and subheim.
night falls. cinquième album de ben lukas boysen sous le nom de hecq. on ne pouvait rêver meilleur intitulé pour baptiser la galette. une ode à la nuit. image facile, direz-vous, mais la mettre en son est une autre paire de manches. car, au fond, qu'est-ce qu'évoque la nuit en dehors de votre vie d'alcoolique débauché ne pensant qu'à faire la teuf, boire du pastis, baiser et s'endormir en bandouillant encore ? des tas de choses : le rêve, l'infini, la solitude, l'angoisse, l'absence, l'insomnie, le café, le vide, le temps en suspens... et bien night falls prend le parti d'en dresser le tableau. il allie tout ce que nous venons d'évoquer touche par touche, avec de grands gestes amples de pinceau mais parfaitement calculés. de par ses activités de designer sonore, ben lukas boysen a pour habitude de porter du son à l'image. rien d'étonnant, donc, à ce que cela donne à sa musique un caractère très imagé. night falls évoque autant la splendeur abyssale d'un plafond étoilé que l'autoroute de nuit où viennent plonger l'un dans l'autre bitume et arbustes sur le bas côté. night falls réconcilie les deux points de vue. les phares d'une voiture qui déchirent le noir l'espace de quelques secondes ; le conducteur somnolant dans une temporalité vaporeuse, devant un spectacle surnaturel fait de longs mouvements et de répétitions ennuyeuses. c'est un album profondément symphonique. non pas que l'électronique s'y fait plus discrète que pour 0000, mais elle assume un rôle un peu différent. ce n'est plus la rythmique cadrant de longues plages sonores, c'est un instrument parmi d'autres, venant parfois chatouiller l'orchestre faussement acoustique, parfois accompagner son élan paisible et langoureux. les morceaux ne sont faits pour l'essentiel que de longs crescendos et decrescendos, ce qui donne un côté légèrement sentencieux à la chose mais sans que ça n'en devienne pour autant dégoulinant de prétention. night falls est le skeud idéal pour accompagner une virée noctambule sur une route interminable et pluvieuse, celle où vous savez que vous devrez conduire jusqu'au petit matin avec pour seule compagnie des pensées pleines de sagesses ou complètement nulles, et le petit thermos que votre mère vous a donné grâce à ses points auchan. hecq prouve avec cet opus qu'il sait, malgré sa patte bien reconnaissable, aller explorer d'autres pistes au grès des albums. et il le fait avec brio. (tehanor)
those who are fond of ben lucas boysen (aka hecq) have probably got used to his style of working - complicated, twisting rhythmical constructions brightly demonstrating the triumph of technologies in contemporary electronic music. changes in the musician's mind could be heard at the end of 2007 when net-release infinite rounds took place. this release was lack of pseudonym (edition with original name of the author) as well as of rhythmical section (with the exception of central track). nevertheless the new album of this author turned to be unexpectable - the musician turned straight from energetic idm to deep and very gloomy ambient sound. night falls turns off the light in your room transforming it into a ship which slowly moves along endless dark corridors of reverberated string instruments, synthesized pads and samples of choir. also various sound elements are extremely harmoniously integrated into composition of the album, they make each part of the album unforgettable. for example, subtle hi-tech glitch effects in track "dis", airy and romantic piano sound in quiet, exciting "bending time" or industrial field recordings in "giants". night falls widens the space round us and makes us feel free about our thoughts and emotions: from light sadness and thoughtful staring into some emptiness to inexplicable alarm and anxiety. hecq has obviously gained a new level - music lost a great amount of difficult effects and rhythmical constructions but received a charge of feelings and emotions, ability to penetrate into soul's depths of a listener, to the remotest corners of his consciousness.
hecq discography. 04.2007:
a dried youth. cd. kaleidoskop kal003. 2003
scatterheart. cd. hymen records ¥742. 2004
bad karma. cd. hymen records ¥748. 2005
0000. cd. hymen records ¥758. 2007
night falls. cd. hymen records ¥767. 2008