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Ravedeath 1972

4.8 out of 5 stars 12 customer reviews

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Vinyl, March 8, 2011
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$23.99 & FREE Shipping on orders over $35. Details Only 10 left in stock (more on the way). Ships from and sold by Amazon.com in easy-to-open packaging. Gift-wrap available.

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Editorial Reviews

RECEIVED AN 8.6 BEST NEW MUSIC RATING FROM PITCHFORK. Tim Hecker's latest work approaches a form of secular musical transcendentalism from within the battered temple of spirituality. Recorded in a church in Reykjavik, Iceland and using a pipe organ as the primary sound source, this new piece is essentially a live recording. In reality, it exists in a nether world between captured live performance and meticulous studio work, melding the two approaches to sonic artifice as a unity. It is in parts a document of air circulating within a wooden room, and also a pagan work of physical resonance within a space once reserved for the hallowed breath of the divine. While the title of the piece "Hatred of Music" might be a clue, the album is also partly an attempt to confront a pervasive negativity surrounding music. Historical rituals of destroying pianos, mountains of pirated CDRs pushed by bulldozers in Eastern Europe, or the melancholy of the digital music era began as sideline motifs which quickly informed the work on this record. They also really didn't at all. Despite that the context is wide open in such a form of musical abstraction, the substance of these immersive compositions showcases Hecker's continued mastery of organizing sound into a visceral near entity. It is an almost physical presence that the listener feels as much as hears. This work is a significant contribution to Hecker's oeuvre, one which spans over ten years of musical production. Ravedeath is an enigmatic document of beauty and force. The album was recorded mostly over the period of one day in July of 2010. Iceland-based musician Ben Frost assisted with the engineering and performs on this recording.
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Product Details

  • Vinyl (March 8, 2011)
  • Number of Discs: 1
  • Label: Kranky
  • ASIN: B004J0SRTI
  • Average Customer Review: 4.8 out of 5 stars  See all reviews (12 customer reviews)
  • Amazon Best Sellers Rank: #73,795 in Music (See Top 100 in Music)

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Customer Reviews

Top Customer Reviews

Format: MP3 Music
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.Read more ›
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Format: Audio CD Verified Purchase
It might be not easy for th ordinary listener to get into the industrial ambient sound of the canadian composing wizard tim hecker. But if you willing to listening you will experience sounds that strech your musical experiences maybe to the extremes. Of all his works so far Ravedeath 1972 is strangely the most extreme as well as the most accessible with sounds that grow in your mind. A definitive masterpiece and for me the greatest rcord of 2011. You have to listen over and over!
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Format: MP3 Music
(Taken from my blog at [...])

Here is a record that crept up on me. I'm not sure what I was expecting but this thing crawled on top of me before I could even accept it, forcing me to, in a way. Tim Hecker has created a world that sounds like neo noir back alleys coupled with universal light, drenched in a milky black skin. It's dark but ultimately ethereal and completely rewarding.

Many people describe entertainment as "escapism", forgetting their current problems and drifting to a different place for a while. This may not be what they had in mind but it fits the description in the truest sense of the word: this is unfiltered escapism at its finest. It is a grey, instrumental zone and almost forces you to drop the curtain on your eyes and become something entirely different than the normal existence of feeling human.

Music is often described as conveying emotions that cannot be said with words. "Ravedeath 1972" fits that term in the purest way.
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Format: Audio CD
8th release since 2001 from this conceptual electronic experimentalist out of Montreal, Canada.
Recorded in an Icelandic church with a pipe organ as the primary sound source, here's a chance
to be engulfed by a cathartic, dark & sweeping beauty--on a ride of gently soaring and
continuously expansive soundwave vibrations with an infinite potential for universal
transcendence to an unknowable destination. A powerful, mesmerizing mix of subtly terrifying
drone-noise chasms in an ambrosial ambient haze of floating opiate spirituality. Recalls Ben
Frost (who plays on the album), Bjorn Olsson, Stars Of the Lid, Mike Oldfield.
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Format: MP3 Music
The image of a piano headed toward certain destruction presages the absence of traditional music elements waiting in Ravedeath, 1972. It's also an omen of what our notion of music is going to look like after we experience this exploration of sonic potential. The entire album consists of conversations between sounds, at least that's the best word that I can use to describe this music. There are no beats or rhythms to set the tempo. The music is a collection of sounds that layer and mingle and mesh, harmoniously combining, disassembling, and submerging into one another. Despite the lack of percussion or beats moving everything along, there is a structural direction and flow that emerges from these combinations of elements. One sounds suggests another which leads to still another. Like the flow of topics in a pleasant conversation, each track pleasingly flows from one collection of closely related sounds to another.

Despite the almost free form feel of the album, a very strong sense of artistry and conscious creation permeates every manipulated sound. This is no mere mash-up of collected sounds or over-exuberant application of electronic tools to conventional music. Every elements feels curated to elicit just the right affect on the listener. The capable artist, confidently wielding every tool at his disposal to give his vision reality, is a strong presence in the album. He so successfully exposes the beauty present in the contrasts and textures of sound that our concept of music is effortlessly warped into something that freely places this work next to the more traditional fare offered by more conventional artists.
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