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Tim Hecker - Ravedeath, 1972 album mp3


The Piano Drop 2:54
In The Fog: I-II 10:53
In The Fog: III 5:00
No Drums 3:24
Hatred Of Music: I 6:11
Hatred Of Music: II 4:22
Analog Paralysis, 1978 3:51
Studio Suicide, 1980 3:24
In The Air: I-III 12:21


Category Artist Title (Format) Label Category Country Year
krank154 Tim Hecker Ravedeath, 1972 ‎(2xLP, Album) Kranky krank154 US 2011
none Tim Hecker Ravedeath, 1972 ‎(12xFile, FLAC, Album) Kranky none US 2011
krank154 Tim Hecker Ravedeath, 1972 ‎(CD, Album) Kranky krank154 US 2011
krank154 Tim Hecker Ravedeath, 1972 ‎(CD, Album) Kranky krank154 US 2011
krank154 Tim Hecker Ravedeath, 1972 ‎(CD, Album) Kranky krank154 US 2011
KRANK154 Tim Hecker Ravedeath, 1972 ‎(CDr, Album, Promo) Kranky KRANK154 UK & Europe 2011
krank154 Tim Hecker Ravedeath, 1972 ‎(CD, Album, RE) Kranky krank154 US 2015
krank154 Tim Hecker Ravedeath, 1972 ‎(CD, Album, RE) Kranky krank154 US Unknown

Tim Hecker - Ravedeath, 1972 album mp3
Performer: Tim Hecker
Genre: Electronic
Title: Ravedeath, 1972
Country: US
Released: 2011
Style: Abstract, Ambient, Experimental, Drone
MP3 version ZIP size: 1541 mb
FLAC version RAR size: 1923 mb
Rating: 4.9
Votes: 133

Tim Hecker has been on heavy rotation on author’s playlist. The music can be defined concisely as beautiful rendition of rough soundscapes which subsit in the milieu of drone, horns, piano and noise elements. Heavy drones are implemented wherever, the artist felt it necessary, the music gives the listener a calm feeling in the midst of this wonderful chaos of soundscapes. Rave Death is no exception to above detailed summary of Hecker’s music adventure.Ravedeath, 1972 has two series based tracks i.e. In the fog and Hatred of music. With Hatred of music, we dwell into the most haunting side of this album. There are quite moments in this album too with less noise. But for the most part, it’s the noise textured music that steals the show. This album's a heavy and huge and it consolidates its other two counterparts – Harmony in ultraviolet and An Imaginary country
Lots of interesting reviews here. I'd just like to add that as a fan of atmospheric / ambient / arty! music I found this album to be a most refreshing and interesting listen. I was expecting some droney, clicky, sample-heavy sound 'drapes' with a confetti of overused digital editing. What I got was a slowly evolving aural feast somewhat akin to early Popol Vuh ('Garden Of Pharaohs' organ) meets Mogwai ('Zidane..' heavy guitar) so if you like that kind of (no) groove, this could be just for you. The title is silly though...
Tim Hecker's music speaks for itself. It might be not easy for the ordinary listener to get into the heavy ambient drone sounds of this Canadian composing wizard, but if you are willing to give him a chance, you will experience soundscapes that will challenge your imagination like no other artist will. Distorted, dark, intense, haunting, soul crushingly beautiful, there is so much emotion, detail and drama hidden beneath the soundscapes of this album, it will feed your soul like...a never-ending poem full of hope, heartbreak and nostalgia. Probably best listened to on a clear cold night when you can look out your window and see the stars.
It really frustrates me that they split In the Fog and, especially, Hatred of Music, across 2 sides of vinyl.. I would prefer if they shuffled the tracklisting to make it work.. Also not the best pressing, it arrived new with some surface noise and a few pops. All said though, fantastic album not to be missed
great ant
I haven't listened to the copy I got in August but I can't imagine what it's like not listening to it straight through. More of a collection item on vinyl, I guess.
..... for me is the BEST album of Tim Hecker....MASTERPIECE!!!!!!!!!!!!!!!!!!!!!!
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.
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...
Haha he literally worked with Ben Frost on this album?
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!
ttooyyss' review is nothing but someone trying as hard as they can to pidgeonhole something that they have no grasp on. Each sentence is funnier than the last. Don't listen to a drone/noise record and ask where the ambient is. You're literally reviewing a different record than you listening to. "Typical younger-generation approach to ambient"... For one thing, Tim Hecker was born in 1974 and is held as a genre pioneer. Also, noise and drone music have been around for 60-80 years (La Monte Young, Dada artists, etc), whereas ambient music is a new genre, even including early work like you mentioned. You're looking at a huge world through a small window.
"no melody"? maybe the composer is not interested in "melody" as you define it. "almost no chords"? i hear lots of chords, but maybe the composer doesn't want to use "chords" as you define that word. "wants to be dreamy"? says who? you? how do you know the composer wants to be "dreamy"? "no calming"? maybe the composer does not want to calm the listener. "typical younger-generation approach to ambient"? who says the composer is creating "ambient" music? you? your entire review basically consists of you repeating over and over that "this album is not what i want it to be", what a childish idea to espouse. and "ambient" music was started 40 years ago? what about Raymond Scott's "Soothing Sounds for Baby" albums from 1962, or his recordings released by Basta under the "Manhattan research Inc." title, some of which date from the 50's? there are even earlier examples of "ambient" recordings, i name these because they are easy to access and listen to. you did manage to get one thing right in your review, as i am sure that the composer wanted the album to be a demanding listen. so go back to your Swing Out Sister, Telex and Yello albums as your unimaginative and uninformative comments regarding challenging organized sound enlighten no one.
Thanks for your comprehensive review here, just ordered one
Drony, noisy - and yet calm. Highly recommended!
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.
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.
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.