Tim Hecker - Ravedeath, 1972 FLAC

Tracklist

Versions

Credits

• Engineer – Ben Frost, Paul Corley
• Layout [Artwork Layout] – David Nakamoto
• Mastered By – James Plotkin
• Photography [Cover Artwork Courtesy] – MIT Museum
• Piano [Additional Piano] – Ben Frost

Notes

Written Winter 2010 in Montreal and Banff.
Recorded July 21, 2010 at Fríkirkjan Church, Reykjavík, Iceland.
Written for computer, pipe organ, synthesizer, piano, microphone and guitar amp feedback.
Thanks to Ben, Paul, Lawrence, Aline, Valgeir & Greenhouse Studios, Reykjavík.

© & ℗ 2011 Tim Hecker and Kranky, Ltd.

Comes in foldout cardboard case (4-panel digisleeve).

Barcodes

• Matrix / Runout: 07/09/2015 06:11:49.49#44432 IFPI LN09 KRANK154 1501896 01
• Mastering SID Code: IFPI LN09
• Mould SID Code: IFPI JI10

Companies

• Copyright (c) – Tim Hecker
• Copyright (c) – Kranky, Ltd.
• Phonographic Copyright (p) – Tim Hecker
• Phonographic Copyright (p) – Kranky, Ltd.
• Recorded At – Fríkirkjan, Reykjavík
• Pressed By – CDA ImPressing Solutions, USA – 1501896

Video

Album

Ravedeath, 1972 by Tim Hecker, released 14 February 2011 1. The Piano Drop 2. In The Fog 3. In The Fog II 4. In The Fog III 5. No Drums 6. Hatred of Music I 7. Hatred of Music II 8. Analog Paralysis, 1978 9. Studio Suicide, 1980 10. In The Air I 11. In The Air II 12. In The Air III. Includes unlimited streaming of Ravedeath, 1972 via the free Bandcamp app, plus high-quality download in MP3, FLAC and more. ships out within 3 days. Buy Compact Disc. Tim Hecker. Ravedeath, 1972. The Orchard Music от лица компании kranky Warp Music. Stars of the Lid - The Tired Sounds of Stars of , 1972 - Tim Hecker. Лента с персональными рекомендациями и музыкальными новинками, радио, подборки на любой вкус, удобное управление своей коллекцией. Ravedeath, 1972 is the sixth studio album by Canadian electronic music musician Tim Hecker, released on February 14, 2011 by Kranky. The album was recorded primarily in Frikirkjan Church, Reykjavík, by Ben Frost. It makes prominent use of pipe organ, and was described by Hecker as a hybrid of a studio and a live record. It received universal acclaim from critics, with many reviewers acknowledging the album as Hecker's finest. Listen free to Tim Hecker Ravedeath, 1972 Analog Paralysis, 1978, Hatred of Music I and more. 12 tracks 52:21. Ravedeath, 1972 approaches a form of secular musical transcendentalism from within the battered temple of spirituality. Recorded in a church in Reykjavík, Iceland and using a pipe organ as the primary sound source, this 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. Album 2011 12 Songs. Electronic 2011. And while theyre all worth a late-night listen, Ravedeath, 1972 is one of his most cohesive artistic statements yet 12 songs that bleed into one another beautifully. So beautifully, in fact, that they could have been combined into a single track without anyone noticing. Посмотреть сведения об участниках альбома, рецензии, композиции и приобрести альбом 2011 Vinyl от Ravedeath, 1972 на in album Tim Hecker - Ravedeath, 1972 2011. Tim Hecker - The Piano Drop. Tim Hecker - In The Fog I. Tim Hecker - In The Fog II. Tim Hecker - In The Fog III. Tim Hecker - No Drums. Tim Hecker - Hatred of Music: I. Tim Hecker - Hatred of Music: II. Tim Hecker - Analog Paralysis, 1978. Tim Hecker - Studio Suicide, 1980. A title like Ravedeath, 1972 is great because of all the possible associations it calls up. A time-traveling techno explosion, a John Brunner novel title, a 1960s Frug winding down in a horrible dry gulch Whatever all the possible associations, when Tim Hecker begins the album with the at-once shuddering feedback glitch and distant soothing bliss of The Piano Drop, the Canadian composer does seem to thrive in an intersection of possibilities from multiple sources. When he talked to us last month about the artwork for his latest LP, Ravedeath, 1972, Hecker mentioned that he'd been consumed with the idea of sonic decay. I became obsessed with digital garbage, he said. That idea, the notion of music as a cheapened, battered object, touches nearly every aspect of Ravedeath, 1972, a dark and often claustrophobic record that is arguably Hecker's finest work to date. The album is based on a single day's worth of recordings in a church in Reykjavik, Iceland, where Hecker used a groaning pipe organ to lay down the foundation for its tracks