Ted Hearne’s uncanny soundtrack to tech’s ominous encroachment on humanity: FARMING
PRAISE FOR Ted Hearne
“Chaotically ambitious, often poignant.”
“Twitchy, allusive, often synthetic and surrealistic... delivers what I can only describe as full sensory overload.”
“Hearne's arrangements, weaving a digitised fabric around and through the voices, are consistently tense and puncy, packed with unexpected and diverting details.”
“Music that refuses to comfort us...splices 17th-century colonial letters with 21st-century CEO manifestos, and builds entire tracks around the existential dread lurking in a vending machine salad.”
FARMING TRACKLIST
We’re Back
Microwork
Everything That We Do Well
What Are Greens
Gift Economy
Country
Search H-2A
Decisions
We’re Actively Monitoring
FARMING is out now via Deathbomb Arc, listen here.
Today, Ted Hearne — the composer and two-time Pulitzer Prize finalist praised by Pitchfork for creating “some of the most expressive socially engaged music in recent memory” — releases FARMING, a new album commissioned by the four-time GRAMMY Award-winning choir The Crossing and Donald Nally.
FARMING is out now via Deathbomb Arc, the independent label behind releases by a wide-ranging assemblage of trailblazing experimental acts like Death Grips, clipping., JPEGMAFIA, Julia Holter, and They Hate Change. Major support for FARMING has been provided by The Pew Center for Arts & Heritage.
Listen to FARMING here.
Upon its 2023 live performance debut, fittingly held on a farm in Bucks County, Pennsylvania, The New York Times called FARMING “a suggestive, chaotically ambitious, often poignant reflection on colonization, consumption, marketing, entrepreneurship.” NPR called it “twitchy, allusive, often synthetic and surrealistic. It delivers what I can only describe as a full sensory overload.”
Learn more about FARMING in an interview with Foxy Digitalis here.
FARMING confronts technology’s ominous encroachment upon humanity’s very being. Against an uncanny soundworld fraught with neck-breaking shifts and stylistic contradictions, Hearne tackles the long-tail impact of settler colonialism, agricultural degradation, big tech utopianism, corporate religiosity, and the abstraction of community. The album’s unholy marriage of ersatz Americana, digitally altered choral arrangements, and hyperpop’s synapse-frying maximalism inverts technology’s smoothing impulses in favor of an unwieldy, knotty expression of modern ennui and alienation.
It’s an enveloping experience: Auto-tune choirs are twisted into unnatural harmonies as they detail the new human identification capabilities of artificial intelligence (“Is there a human in the picture?” they ask); a CEO’s recursive and contradictory origin story is cast as a mournful Sinatra torch song strewn with digital detritus; and a stack of voices, backed by an accompaniment that evokes a Richard D. James-authored soundtrack to The Jetsons, asks the seemingly self-evident but harrowing question of “What are greens, and how do they work?”
Throughout FARMING, every soulful element of human performance — a beautiful vocal phrase, a touching harmony — is threatened to be enveloped by the sinister application of technological processing. In conjuring this aural trip into the Uncanny Valley, Hearne’s varied influences make themselves evident: Meredith Monk’s pioneering avant vocal ensembles, SOPHIE’s winking and elastic productions, Jockstrap’s digitally damaged balladry, and Daniel Lopatin’s long-running crusade against timbral fascism. While not techno-phobic, FARMING is certainly wary of how deeply intertwined we’ve become with services and tools whose primary purposes are surveillance and advertisement.
It’s an intellectually audacious undertaking, repurposing primary texts from William Penn and Jeff Bezos as it contends with the mythological constructs humans erect to justify their participation in an economy’s unfeeling entropies — and reveals the ethical void at their core.
The release of FARMING will be celebrated at four upcoming events: Philadelphia on November 2 at Ortlieb’s (tickets here); Brooklyn on November 5 at Moondog HiFi (tickets here); Los Angeles on November 20 at 2220 Arts + Archives (tickets here); and Chicago on November 22 at The Athenaeum.
ABOUT TED HEARNE
Photo by Nia Easley
TED HEARNE (b.1982, Chicago) is a composer, singer, bandleader and recording artist. Inspired by the overlay of different viewpoints and their sonic possibilities, he creates personal and multi-dimensional works that often explore unconventional interactions of text and music, and are rooted in a sense of inquiry.
The New York Times has praised Mr. Hearne for his “tough edge and wildness of spirit,” and “topical, politically sharp-edged works.” Pitchfork called Hearne’s work “some of the most expressive socially engaged music in recent memory — from any genre,” and Alex Ross wrote in The New Yorker that Hearne’s music “holds up as a complex mirror image of an information-saturated, mass-surveillance world, and remains staggering in its impact.”
Hearne’s Sound From the Bench, a cantata for choir, electric guitars and drums setting texts from U.S. Supreme Court oral arguments and inspired by the idea of corporate personhood, was a finalist for the 2018 Pulitzer Prize. Place, Hearne’s work written with poet Saul Williams and director Patricia McGregor, was nominated for two GRAMMY Awards and was a finalist for the 2021 Pulitzer Prize.
Commissioned by the Los Angeles Philharmonic, The Barbican Centre and Beth Morrison Projects, and scored for 18 instrumentalists and 6 vocalists, Place was premiered to critical acclaim in October 2018 in Fall 2018 the BAM Next Wave Festival. “‘Place’ takes shape in songs that emerge like a graffiti mural as repetitive gestures gradually bloom into vibrant, brash statements in high-volume color. The six singers bring with them deep familiarity with diverse vocal styles… but it was impossible to ignore the presence of the real Mr. Hearne at his command post conducting the musicians, manipulating the sound and driving the auto-da-fé of his own orchestration… It always felt as if Hearne was questioning his own comfort and — in the final moment — his own power” (The New York Times).
Hearne’s oratorio The Source sets text from the Iraq and Afghanistan War Logs, along with words by Chelsea Manning (the U.S. Army private who leaked those classified documents to WikiLeaks), and was premiered to rave reviews at the 2014 BAM Next Wave Festival. The New York Times called The Source “a 21st Century masterpiece,” and included it on its list of the best classical vocal performances of 2014 and best albums of 2015, noting that the work “offers a fresh model of how opera and musical theater can tackle contemporary issues: not with documentary realism, but with ambiguity, obliquity, and even sheer confusion.” During the 2016-17 season, the original production of The Source (directed by Daniel Fish) was presented by both the LA Opera and San Francisco Opera.
Hearne’s piece Katrina Ballads, another modern-day oratorio with a primary source libretto, was awarded the 2009 Gaudeamus Prize in composition and was named one of the best classical albums of 2010 by Time Out Chicago and The Washington Post. His ongoing collaboration with legendary musician Erykah Badu pairs newly composed music with arrangements of Badu’s work for orchestra, most recently presented with the Dallas Symphony Orchestra, whom Hearne also conducted.
Law of Mosaics, Hearne’s 30-minute piece for string orchestra, has been performed by the Chicago Symphony Orchestra, San Francisco Symphony and Los Angeles Philharmonic. His album of the same name, with Andrew Norman and A Far Cry, was named one of The New Yorker’s notable albums of 2014 by Alex Ross. In 2022, it was also adapted into an acclaimed repertory piece at the New York City Ballet, which was designated a Critic’s Pick by The New York Times.
Hearne has remained busy throughout 2024 and 2025. Hearne’s ongoing collaboration with radical choreographer Pam Tanowitz reached new heights with a 30-minute orchestral work, Or Forevermore, premiered at the Royal Ballet of London in Fall 2024. It was the subject of rave reviews from The Guardian, The Financial Times, and many more. Hearne also wrote the music for an operatic adaptation of Elektra, a new and acclaimed version of Sophocles’ classic play from a translation by Anne Carson and directed by Daniel Fish. Starring Brie Larson and Stockard Channing, it premiered in January 2025 on London’s West End and was praised by The Guardian as “arresting…a radical rewiring.” Hearne’s over and over vorbei nicht vorbei, made in collaboration with director Daniel Fish, was premiered at Komsiche Oper Berlin in February 2024 and later at Nationaltheater Weimar in May 2025. The work incorporates text from toxic histories of violence in the U.S., Germany, and Israel.
Other Hearne projects include: Dorothea, a kaleidoscopic art pop collaboration embodying the tender, pathos-ridden, darkly funny words of poet Dorothea Lasky with synth beats, rhapsodic textures and the heavenly vocals of “Los Angeles-based polymath” Eliza Bagg. He has performed with Philip White as the vocal-electronics duo R WE WHO R WE, whose debut album (New Focus Recordings, 2013) was called “eminently, if weirdly, danceable and utterly gripping” (Time Out Chicago). Other albums include The Source and Outlanders (New Amsterdam Records) and The Crossing’s acclaimed recording of Sound From the Bench (Cantaloupe Music).
Ted Hearne was awarded the 2014 New Voices Residency from Boosey and Hawkes, and is a member of the composition faculty at the University of Southern California. Ted’s many collaborators include poets Dorothea Lasky and Jena Osman, visual artists Sanford Biggers and Rachel Perry, directors Daniel Fish and Patricia McGregor, and filmmakers Bill Morrison and A.M. Frison, and his works have been conducted by Michael Tilson Thomas, John Adams and Gustavo Dudamel. Recent commissions include orchestral works for the San Francisco Symphony, Los Angeles Philharmonic, Royal Ballet of London, New World Symphony, Los Angeles Chamber Orchestra and A Far Cry, chamber works for Eighth Blackbird, Ensemble dal Niente and Brooklyn Rider, vocal works for Conspirare, The Crossing and Roomful of Teeth, and large-scale collaborative works with performance artist Taylor Mac, interdisciplinary artist Damon Davis and hip-hop/soul icon Erykah Badu. A new operatic adaptation of Ursula K. LeGuin’s classic novel The Dispossessed, with Wild Up and director Kaneza Schaal, will premiere in 2026.
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