Genre : Ambient, Experimental, Electronica, Canada
Buy (CD n 2xLP)
01. The Piano Drop 2:54
02. In the Fog: I 4:52
03. In the Fog: II 6:01
04. In the Fog: III 5:00
05. No Drums 3:24
06. Hatred of Music: I 6:11
07. Hatred of Music: II 4:22
09. Analog Paralysis, 1978 3:51
09. Studio Suicide, 1980 3:24
10. In the Air: I 4:11
11. In the Air: II 4:07
12. In the Air: III 4:01
Ambient electronic vet Tim Hecker releases his new highly anticipated album Ravedeath, 1972 on February 14 via Kranky.
If there’s one thing that characterizes Tim Hecker’s music, it’s a spirit of dichotomy, sitting comfortably betwixt smooth, rounded ambient edges and jagged points of noise. Ravedeath, 1972 continues that dichotomy, and embodies another one, combining the effervescent caprice of live improvisation with the cool consideration subsequently brought to bear on it in the studio.It’s impossible to listen to this album without finding oneself drawn into the cover imagery and the titles Hecker has bestowed on the tracks. The album’s cover—portraying an upright piano, poised to be thrown from a roof—is simultaneously violent and playful, and here at the album’s heart, Hecker draws on words evoking strong, violent notions: “hatred”, “paralysis”, “suicide”. It has to be said, though, that these notions confine themselves to the conceptual aspect of the album (spoken of in the press release, which doesn’t so much prove illuminating as actually come across like a red herring – another example of violence and playfulness combined?). “Analog Paralysis, 1978” is, if anything, less paralytic than either earlier track “No Drums”—which seems to strive at being transfixed, but falls just a little short of that—or indeed “Studio Suicide, 1980” which follows, and is precisely the kind of track I spoke of before, where one’s inclined to drift (but not nod) off.
While not without its flaws, Ravedeath, 1972 is Tim Hecker’s strongest, most consistent album to date. Admittedly, for some it will be a challenging listen—lacking the quietude heard on Harmony in Ultraviolet and with more intensity and ambition than An Imaginary Country—but, at its best, the rewards for rising to that challenge are nothing less than mind-blowing. – Review by Simon Cummings for Fluid Radio
Tim Hecker is a Canadian-based musician and sound artist, born in Vancouver. Since 1996, he has produced a range of audio works for Kranky, Alien8, Mille Plateaux, Room40, Force Inc, Staalplaat, and Fat Cat. His works have been described as “structured ambient”, “tectonic color plates” and “cathedral electronic music”. More to the point, he has focused on exploring the intersection of noise, dissonance and melody, fostering an approach to songcraft which is both physical and emotive. The New York Times has described his work as “foreboding, abstract pieces in which static and sub-bass rumbles open up around slow moving notes and chords, like fissures in the earth waiting to swallow them whole”. His Harmony in Ultraviolet received critical acclaim, including being recognized by Pitchfork as a top recording of 2006. Radio Amor was also recognized as a key recording of 2003 by Wire magazine. His work has also included commissions for contemporary dance, sound-art installations, minimal techo works under the name 'Jetone', as well as various writings. Tim has presented his work in a live setting around the world, including performances at Sonar (Barcelona), Mutek (Montreal), Primavera Sound (Barcelona), Victoriaville (Quebec), Vancouver New Music Festival (Vancouver), and Transmediale (Berlin). He currently resides in Montreal.