“Obsidian Counterpoint”, the album’s opening track, begins with a rhythmic synthesiser heavily treated with delay and reverb. This multi-faceted use of granular synthesis, particularly in conjunction with real instrumentation, such as flutes, or pianos, is most clearly evidenced in Hecker’s 2016 album, Love Streams.
Granular synthesis can be used to create bizarre pitch-shifting effects, complex drones, or stutters, amongst many other possibilities. These grains can be played back at the same time, overlapped, reversed, or otherwise manipulated with their own parameters. Within granular synthesis, incoming audio, such as a flute or choir, is broken apart and played back in millions of pieces, or “grains”. Hecker’s signature sound is achieved, in large part, through the adoption of granular synthesis.
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