Tim Hecker ‎– Ravedeath, 1972

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Tracklist

The Piano Drop
In The Fog: I-II
In The Fog: III
No Drums
Hatred Of Music: I
Hatred Of Music: II
Analog Paralysis, 1978
Studio Suicide, 1980
In The Air: I-III

Versions (5)

Cat# Artist Title (Format) Label Cat# Country Year
krank154 Tim Hecker Ravedeath, 1972(2xLP, Album) Kranky krank154 US 2011 Sell This Version
krank154 Tim Hecker Ravedeath, 1972(CD, Album) Kranky krank154 US 2011 Sell This Version
krank154 Tim Hecker Ravedeath, 1972(CD, Album) Kranky krank154 US 2011 Sell This Version
krank154 Tim Hecker Ravedeath, 1972(CD, Album) Kranky krank154 US 2011 Sell This Version
KRANK154 Tim Hecker Ravedeath, 1972(CDr, Album, Promo) Kranky KRANK154 UK & Europe 2011 Sell This Version

Reviews Show All 10 Reviews

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kapervisser

kapervisser

October 18, 2014
referencing Ravedeath, 1972, 2xLP, Album, krank154

I liked 'Harmony In Ultraviolet' but this album indeed shows his lack of idea's at this particularly point. It feels like getting stucked and sucked into boredom. It is the same concept as his previous albums but onfortunaly not as good as them. The new album 'Virgins' , again has the same feeling to it but is lot nicer to listen to than this rumble. I really can't understand why people love this album so much as they say they do and i never will. I think it is his worst effort so far. Time to find new inspiration and a new direction maybe, 'Tim Hecker'. I hope his sperical approach of noise will lead to enlightenment but i am affraid it won't. He is trying to make music. He isn't as talented as some people want to believe.
Karmineka

Karmineka

October 11, 2014
referencing Ravedeath, 1972, 2xLP, Album, krank154

This album is very hard to listen... because i have heard the ep dropped pianos released the same year...and that was very nice... but in this i hear an artist who is trying to compete with his fellow artists like ben frost and maybe lawrence english.... but this is a passing era... we will be tuning for the next experimental electronic artists... and im sure there will be lots of them...
ttooyyss

ttooyyss

March 23, 2014
referencing Ravedeath, 1972, 2xLP, Album, krank154
VERY overestimated. Lack of musical ideas, no melody, almost no chords but unbearably much guitar distortion and noise. Wants to be dreamy but is rather a nightmarish record due to the ever-present flow of distortion, there's no calming, contemplating but noise pollution all along... So it is demanding to listen. Very boring and a bit tasteless. Typical younger-generation approach to ambient. It's not easy to make anything new in the genre since it has started some 40 years ago with Tangerine Dream, some Vangelis and others. During the decades we've already heard everything, and everything was better.... Highly UNRECOMMENDED time waster album. Look for others!
tarzan

tarzan

January 14, 2012
referencing Ravedeath, 1972, 2xLP, Album, krank154

Drony, noisy - and yet calm. Highly recommended!
S13

S13

August 27, 2011
edited over 4 years ago
referencing Ravedeath, 1972, CD, Album, krank154
Album contains 12 compositions recorded in the Frikirkjan church in Reykjavik applying computer, organs, synthesizer, piano, microphone and guitar amplifier. It is important to mention that while recording famous composer, sound engineer from Australia Ben Frost has worked on this rich, harmonious and high – quality sound. Pulse is felt in music while spacious atmospheres, piercing melodies are dominating. The mature, contribution and devotion of an artist are shown by sequential development of emotionality which leads to euphoria step by step. Subtle and aesthetic noise isn’t tiring, vice versa – it helps to empathize more into works. Strong motives of live sound and ecclesiastical echo – things that creates special feelings.

Definitely it is the masterpiece of modern-days, which pretends to the title of the album of the year.
Headphone_Commute

Headphone_Commute

July 4, 2011
referencing Ravedeath, 1972, 2xLP, Album, krank154
When winter arrives and the sky goes grey I like to close the blinds of my apartment, turn the heater up to eleven and cuddle up in my bed. Usually this custom of mine goes together with the computer placed on my bed and a thick blanket of music that fills up the air around me. When this morning I glanced outside and there was no apparent source of sunlight to be seen, the never-ending stretch of clouds had me a little bit excited as I figured this would be the perfect moment to experience the new Tim Hecker release, on the Chicago based Kranky imprint. Ravedeath, 1972 is the result of a live improvisation session in a church in Reykjavik and the studio process that followed afterward. Recorded with the support of none other than Ben Frost, I anticipated a throwback to the guitar themed noise that was so prominent with Hecker in his early EP, My Love is Rotten to the Core (Substractif, 2002). The two installments of “Hatred of Music”, “Analog Paralysis” and “Studio Suicide” also had me brace for a grim listening experience much like Frost's By the Throat (Bedroom Community, 2009). But when the heavily edited organs start to buzz through my room, it seldom had me grind my teeth. Not that this is a bad thing. Hecker playfully combines his characteristic chromatic chords and dissonant layering of sounds with the special qualities of the 'studio'. The acoustic of the recording location rubs off on the already churchly character of Hecker's work. He takes full effect of the reverb that the church permits, creating even more dense structures with each layer of sound folding up on itself. The record does not get violent or grim, instead it feels like a careful study of different motives that entrance the listener. “In the Fog” is a suite consisting of three pieces that starts out with a landscape of sounds that has different tones colliding with one another much like waves hitting other waves near a cliff. At the end of the first installment, a rhythmic pulse sets in and the music becomes more fluent. This sine wave, that reminds me a lot of the pulse used by Jim O'Rourke in I am Happy and I am Singing and a 1, 2, 3, 4. (Mego, 2001), gradually fades out during the following section, before coming back in “In the Fog III”. The inclusion of touches of the piano at the start of the third section is maybe a sign of Frost's presence. This together with the buzzing pulse and a growing almost dronish noise makes this the standout track for me. “Hatred of Music” starts out with high pitched ethereal waves of noise in which textures slowly turn into something darker. The light tones are transformed into multiple layers of sound that take shape in a grim dissonant sound sculpture. It is the first and only sign of the unnerving atmosphere I anticipated when putting on the record, but the moment is fleeting and quickly dissipates growing into a calm yet dark soundscape. The triptych “In the Air” functions as some kind of closing piece of the album. It starts off really accessible with nice soothing tones, but gradually gets filled with Hecker's heavy chromatic chords. Ravedeath, 1972 very much builds up on his previous work. The typical dense layering of sound is something Hecker has mastered like no other and the abstract form of his music creates a different experience for every listener and on each listen. I feel as if Ben Frost's major influence was in the inclusion of some more pure tones. Both the touches of piano in “In The Fog” and the steady guitar based drones that are present in “Hatred of Music”. This is good music to listen to or rather experience on a day when the weather does not let up. Recommended for listeners that enjoy Fennesz, Stars of the Lid and Lawrence English.
joseph.9371

joseph.9371

June 30, 2011
edited over 4 years ago
referencing Ravedeath, 1972, 2xLP, Album, krank154
This album marks a considerable leap in the evolution of Tim Hecker's work, not to mention a welcome improvement on the (to my ears) disappointing "An Imaginary Country" (although I enjoy it a bit less than the incredible, outlook-changing "Harmony in Ultraviolet"). This is essential listening for anyone who has somehow found themselves on this page.

Emotionally, Ravedeath is harder and bleaker than Ultraviolet. It also progresses from some of Hecker's favorite techniques: this one is more acoustic, with the organ (and acoustic guitar) recordings at the forefront at times, relatively unprocessed. He also has changed the way his pieces evolve. No longer is a "main theme" introduced at the beginning and then reprised at the end; moreover, Ravedeath is more fragmentary, drawing to near silence at several points in the record, marking transitions between segments of very different tone.(Making this work a bit more shuffle-friendly I suppose, although I still tell my iPod to skip it!) I must admit I am not familiar with Heckers entire discography, having so far only listened to the albums already mentioned, but it seems that Ravedeath is also much more distorted and sonically harsh than his previous work.

Ravedeath has a live feel to it, as Hecker has mentioned with regards to its production, which is aided by some sophisticated field recordings (doors slamming, people talking in the distance) which have real depth to them; the stereo imaging is superb. (I wonder when Hecker will switch to 5.1? When he does, it's going to be unreal.)

Is this ambient music? No. You may see Hecker's work labeled as such but in fact it is completely different, a new beast entirely. It may be years before the influence of Hecker's work is immediately obvious in the world of experimental electronica, but when it is, I imagine, he will be viewed as possibly the most important such musician of our time. But who cares, really? His music, apart from being technically brilliant etc., is so emotionally powerful and moving that it draws my respect for those reasons alone. Ravedeath, 1972 is not as forthright or obvious as most music, heck, even most experimental music. But for me at least, peeling the layers and letting the complexity of another human's craft slowly dawn on me is the draw and power of music itself.