- Over the course of the past year, local outfit SVN have established themselves as first-class promoters in Milan's experimental clubbing scene, bringing acts like Raime, Andy Stott and Demdike Stare to the city. Part of their success is built on their ability to find new and interesting spaces, from a science museum to the abandoned headquarters of a pop record label. Their latest venture saw Tim Hecker perform at the Auditorium San Fedele.
It was the first SVN event held in this location, which is usually the theatre of a church in the city centre. As I arrived, the program was being introduced by a priest, who stood awkwardly alongside the music connoisseurs. This is one of the rare venues where one can experience an Acousmonium, a superb soundsystem made up of 40 speakers. During the opening set from Barry Truax and David Monacchi, who primarily used field recordings, the sensation of sound moving through the space around your seat was stunning, and left the packed venue speechless.
Next up was Hecker, an artist with experience performing in churches as an organist (for the cover of his latest album, Virgins, he used a picture he took inside the Duomo of Milan). Hecker played live on a crisp 9+1 soundsystem (not the Acousmonium, for technical reasons), presenting 50 minutes of pure beauty that mostly drew from Virgins. Intense layers of sound conjured the impression of melodies circulating inside a storm. There were no pauses, no visuals and no lights in the room save for the emergency exit signs and Hecker's laptop. The scene was completely dark and no one could see what he was doing with his huge mixer.
When the music was over, Hecker bowed then explained that he has never performed an encore in his life—it's really not possible with his music. Hecker's take on ambient provides calm and a space to think, while also encouraging a sort of detachment from reality which, when blended with moments of disquiet, is something to marvel at.