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| | | kranky (usa) #krank 154 cd tim hecker “ravedeath, 1972” compact disc - the piano drop (2:54)
- in the fog i (4:52)
- in the fog ii (6:01)
- in the fog iii (5:01)
- no drums (3:24)
- hatred of music i (6:11)
- hatred of music ii (4:22)
- analog paralysis, 1978 (3:52)
- studio suicide, 1980 (3:25)
- in the air i (4:12)
- in the air ii (4:08)
- in the air iii (4:02)
| february 2011 release ; ... for tim hecker’s third kranky album (either his sixth or seventh overall, depending on your scheme) he decamped to reykjavik, met up with australian composer ben frost (something of a ... let’s face it ... tim hecker biter) & spent a single day recording the pipe organ tones & patterns that are the majority sound-source (along with a fair bit of ben’s spry ivory-tinklings) of the 12 fragments contained herein ...
one expecting a departure from tim’s largely nihilistic “metal” -informed music as of late into a spiritual miasma will perhaps be pleased to instead bear witness to the familiar crushing, piled-up voids of all-sound that make up his productions herein ; as heavy and atmospheric as his guitar-based work, retaining the full-spectrum thrills but imbuing it here with a newfound sense of acoustic realism (listen to the sound-sample ; plenty of witness of humans interacting with musical apparatus in a huge, resonant room) that, imho, makes this his most nuanced outing yet ... highly recommended !!! |
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artist: tim hecker
title: ravedeath, 1972
catalog #: krank154
release date: february 14, 2011
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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