I would like to gush about one of my favourite genres of new music, and one of my favourite artists that operates around the genre. The "genre" in question is deconstructionist electronic, and the artist is Tim Hecker, who I would have no problem in calling the best and most important musician in Canada.This genre is actually pretty small but I feel very influential - the two other big daddies in this group are Christian Fennesz and William Basinski, though Tim Hecker's music seems to operate in a reverse fashion, though using the same style. The aesthetic consists of thick washes of reverberated sound, combining both sampled sounds and live instrumentation. Both are often rendered nigh-indistinguishable, their sources and souls removed as they are pulled apart in a swirling aether. To me it represents all the music that is being transmitted, caught mid-frequency, deconstructed, in a state of mysterious flux.Basinski's deconstructionist work (his is also a horn player) relies on age, as they are more often then not based on old tapes of minimalist loops created over two decades ago. Age and decay has damaged these magnetic tapes, but not enough for them to be unplayable. As the corroded tape travels over the tape head, it shifts, rips apart, or flakes off more material, creating a poetic sound of loss and decay. Listen to his "Disintegration Loops" or "The Garden of Brokenness."Fennesz creates warm washes of guitar-based pop songs, but pop songs that have been pulled apart to let the spaces in between the harmonies breath and fuzz out into nothing. He's monumental. Listen to "Venice" and "Endless Summer." He's also collaborated a lot with the usual European electro-acoustic improv scene, and is particularily awesome as a member of the band "4g."Other deconstructionist groups are Belong and If Then Do. Close musical relatives include almost anything on the Lampse label, and the amazing sound artist John Duncan, specifically his "Phantom Broadcast," "The Crackling," and "One Hour as if Passing in Seconds."But hey! I want to talk about Tim Hecker here, and particularily his astonishing new album "Harmony in Ultraviolet," which is not in stores yet but the magic of the internets mean that you can find it NOW, but I'm definitely going to buy this the day it's released.Hecker's music is similar to Fennesz, but it's more noisy in that it sounds like many different songs and noises at once, pull from all the audible spectra of radio and digital realms, stewing in a vast dark void of night. This fuzzy mass of different influences talks to itself, breathes, and pulsates with melancholia and mystery. The air is beleagured from being host to all these sounds, and the sounds have been travelling for so long that they wish to cease.Hecker's sculpted noise is truely unique in that it sounds like music DECOMPOSING itself. Unlike pretty much anything else that sounds like, as it comes from the speakers it is composing itself into music as it hits your ears, Hecker's sounds like that music is pulling itself apart, unravelling, and returning INTO the speakers.His last album, "Mirages," hinted at this idea with long passes of spectral transmissions blurring out their own edges and moving into others'. "Harmony" is even more abstract and vague, providing a colourful canvas of moving, emotional "songs" that seem to dissapear into thin air.Absolutely stunning, and critically important. I can't stop listening to this, and that's saying something considering I can rarely listen to an album I consider great more than twice a week (I need a constant stream of unfamiliar music). Get it.PS: Are there any women working in this aesthetic? I'd like to know!