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of confidence." Joe Colly's
Pitchfork review delves deeper into this idea: "it seems that the organ sounds Hecker captured back in that Rejkjavik church represent a certain purity of sound and that the digital noise battering it throughout act as the enemy, the corrosive effect. There's an ongoing struggle between the two that's mirrored in the menacing song titles and gripping cover art. It's important, then, that the album closes with "In the Air III", a track that features almost no interference whatsoever, just the plinking organ by itself. If I'm reading it right, it feels like Hecker's point is that music, in its purest form, survives no matter what you throw at it".
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doesn’t." There was, however, a divide to be found; the second half's tracks "are subtler than those in the first half and give the album a sense of balance and a natural arc". In Hecker's own words, "In the beginning, it's a false start, a kind of a turn-away, like 'Don't cross. This river it's filled with blood,' or something... that tension and anxiety slowly dissipates towards the end of the record and it has an almost romantic finish to it."
408:" this thing that fills everyone's lives all of the time, but it's this thing that is completely taken for granted, and it's also totally fickle and it's infuriating and it's overloading you and it's often not good It's often not done very well and there's also a system of production that doesn't reward people who do it well, so it's kind of fucked up in a lot of ways."
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review expands on this: "ne of Hecker's major concerns is decline and degradation. The album's title and a number of the individual track titles suggest that this preoccupation is still very much in his mind. Yet the titles also suggest some sort of internal, personal conflict – perhaps even a crisis
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The album's unique recording context – its location and technique – was deemed a vital component of its sound, one described as "evocative, moving and expressive". Tonally, melody "tends to remain subordinate to texture", meaning "Hecker's music is not easy or accessible. There are hints of melody
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reviewer analyzed, "The record seems to have no center, no shining single moment, no climax or vortex. Instead it hovers lightly but ominously, like the notes in the songs themselves, hanging in midair without ever dropping to the floor. Each time a track threatens to spill over and crash, it
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which were further complemented by guitar and piano. Following this concentrated recording session, he returned to his studio in
Montreal and worked for a month, undertaking the mixing and completing the record. The result, as Hecker described it, is "a hybrid of a studio and a live record."
388:
but these are always subservient to mood, texture and feeling. There is little or no percussion and rhythm is not a prominent element." This results in "a dark and often claustrophobic record", as No
Ripcord's Marc Higgins concludes that "the record is awash with the feeling of isolation".
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government cracks down on piracy and there's pictures of 10 million DVDs and CDRs being pushed by bulldozers", Hecker found the artwork and developed the cover concept himself, licensing the artwork from the MIT archives and re-photographing the image.
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score of 86 out of 100, which indicates "universal acclaim" based on 17 reviews. The album has been described as Hecker's "most claustrophobic", in the same breath as being "his most powerful", and his "most successful" album. Reviewers for
335:, which "sets the album's tone from the outset", alongside "ingering piano chords slip over the droning throb of the buried pipe organ"; although "many may not identify an organ as the source of the music at all".
305:, later in 2011. It serves as a "starker and colder" counterpoint, utilising "heavy reverb and minor-key tones, lots of negative space". The EP's cover art is yet another re-photographing of the MIT image used for
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309:. While the image has been re-photographed in a different setting, it is unclear whether it was a negative of the image that was re-photographed, or simply a variation that has been inverted.
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The '1972' of the album's title is a reference to the cover artwork – the inaugural piano drop occurred in 1972 – but word 'Ravedeath' has unclear connotations, even to Hecker himself. At a
222:, 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.
254:
1104:
246:, Iceland; the location was discovered as a possible recording venue by Frost. Hecker recorded the bulk of the album on July 21, 2010, playing compositions on the
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A diverse range of recording artists have been used as reference points to describe the sound and tone of the album. "Studio
Suicide" is likened to
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Reviewers roundly acknowledged the album's thematic centre, as the album "seems to be pointing at an end to music, or the endlessness of music". A
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of the undergraduate dorm Baker House in 1972 – an act which began a long-running university ritual. Inspired by "digital garbage – like when the
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in 2010, the word occurred to Hecker, and became "the wrongest and the most right title ever. It had a life of its own after a while."
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331:-based tempests with a mixture of laptop, keyboard, tape and effects-drenched guitar". The album makes extensive use of
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named the album #3 on its rundown the top albums of 2011. The album was longlisted for the Canada-based
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review underlined the power of the album when saying that it can be "more bone-chilling than
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placed the album at number 30 on their respective lists of the top 50 albums of 2011, while
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acclaimed it as Hecker's "finest work to date". Set in the context of the ambient genre,
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ranked the album at number 136 on their list of "The 200 Best Albums of the 2010s".
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s Ian Barker holds that it "quietly stand a shade taller than many of its peers".
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Reviewers found that the record did not conform to a typical structure. As a
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on
February 14, 2011. Hecker subsequently released a companion EP, named
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While an oft-used label, the name "ambient" was deemed a "lazy term" by
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1794:"It's hard to imagine that 2011 will see many finer releases"
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The album was released in CD and double LP format by
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The album was written by Hecker during late 2010 in
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1877:"Here Be Monsters: Quietus Albums Of The Year 2011"
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772:for best Canadian Electronic music album. In 2019,
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1103:: CS1 maint: others in cite AV media (notes) (
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1905:"2011 Polaris Music Prize Long List announced"
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2011:
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413:Tim Hecker, interviewed by Vincent Pollard
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1210:"Take Cover: Tim Hecker: Ravedeath, 1972"
1821:"Staff Lists: The Top 50 Albums of 2011"
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1739:Rauscher, William (February 11, 2011).
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1628:Williams, Christian (March 22, 2011).
1131:Pollard, Vincent (February 16, 2011).
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1660:Mugwump, Jonny (February 15, 2011).
785:All tracks are written by Tim Hecker
202:, released on February 14, 2011, by
1792:Marshall, Joe (February 14, 2011).
1464:Paton, Daniel (February 14, 2011).
16:2011 studio album by Tim Hecker
1966:"The 200 Best Albums of the 2010s"
1935:"Artist Summary | The JUNO Awards"
1848:Breihan, Tom (November 29, 2011).
1271:Masters, Marc (October 10, 2011).
1045:Dombal, Ryan (November 18, 2010).
975:– engineering and additional piano
959:Tim Hecker – writing and recording
14:
1386:Barker, Ian (February 18, 2011).
1348:Power, Chris (February 8, 2011).
1208:Dombal, Ryan (January 28, 2011).
711:received widespread acclaim from
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1505:Colly, Joe (February 18, 2011).
1047:"Tim Hecker Announces New Album"
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1850:"Uncut's Top 50 Albums Of 2011"
1310:Higgins, Marc (April 7, 2011).
978:David Nakamoto – artwork layout
768:, and in March 2011 it won the
2035:Haunt Me, Haunt Me Do It Again
1421:Newmark, Mike (May 18, 2011).
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226:Writing, recording and release
1:
2130:My Love Is Rotten to the Core
1168:Bliss, Abi (March 14, 2011).
384:at their most bloodthirsty."
2194:Kranky (record label) albums
1388:"Album Review: Tim Hecker –
1170:"Album Review: Tim Hecker –
278:pushing a piano off the roof
218:. It makes prominent use of
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2123:Trade Winds, White Noise
1350:"Review of Tim Hecker –
884:"Analog Paralysis, 1978"
766:2011 Polaris Music Prize
327:describes the music as "
1707:(209): 100. April 2011.
1085:(Digipak liner notes).
2056:Harmony in Ultraviolet
1781:(167): 83. April 2011.
1542:by Tim Hecker reviews"
954:Writing and performing
895:"Studio Suicide, 1980"
410:
366:. Minimalist composer
269:
257:
2162:Instrumental Tourist
2063:An Imaginary Country
1186:on November 13, 2016
873:"Hatred of Music II"
434:Professional ratings
153:An Imaginary Country
1885:. December 16, 2011
1829:. December 15, 2012
1099:cite AV media notes
862:"Hatred of Music I"
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344:My Bloody Valentine
313:Sound and structure
1915:on October 2, 2015
1133:"Tim Hecker Talks
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272:The cover depicts
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2189:Tim Hecker albums
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1093:. 2011. krank154.
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52:February 14, 2011
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1002:Catalogue number
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928:"In the Air III"
840:"In the Fog III"
807:"The Piano Drop"
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917:"In the Air II"
829:"In the Fog II"
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1574:by Tim Hecker"
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1639:The A.V. Club
1635:
1633:
1630:"Tim Hecker:
1624:
1621:
1609:
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1604:– Tim Hecker"
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1570:"Reviews for
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60:July 21, 2010
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2084:Love Streams
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1976:. Retrieved
1969:
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1948:. Retrieved
1938:
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1917:. Retrieved
1913:the original
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1889:December 15,
1887:. Retrieved
1880:
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1824:
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1756:February 11,
1754:. Retrieved
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1676:the original
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1611:. Retrieved
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1551:December 28,
1549:. Retrieved
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1520:. Retrieved
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1430:
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1357:
1351:
1320:. Retrieved
1318:. No Ripcord
1313:
1286:. Retrieved
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1251:. Retrieved
1241:
1219:. Retrieved
1213:
1188:. Retrieved
1184:the original
1177:
1171:
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194:by Canadian
192:studio album
186:
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160:
151:
102:experimental
37:Studio album
2184:2011 albums
1940:Juno Awards
1882:The Quietus
984:– mastering
761:The Quietus
372:John Martyn
368:Terry Riley
2178:Categories
2042:Radio Amor
2020:Tim Hecker
1833:January 8,
1799:Rock Sound
1578:Metacritic
1432:PopMatters
1087:Tim Hecker
1033:References
851:"No Drums"
770:Juno Award
733:Rock Sound
717:Metacritic
463:Metacritic
394:PopMatters
377:PopMatters
352:Pink Floyd
333:pipe organ
319:No Ripcord
282:Kazakhstan
248:pipe organ
220:pipe organ
200:Tim Hecker
142:chronology
140:Tim Hecker
42:Tim Hecker
1978:9 October
1971:Pitchfork
1950:April 28,
1855:Stereogum
1826:Pitchfork
1516:Pitchfork
1359:BBC Music
1282:Pitchfork
1253:August 4,
1215:Pitchfork
1190:August 4,
1148:August 4,
1052:Pitchfork
973:Ben Frost
964:Technical
949:Personnel
774:Pitchfork
750:Pitchfork
727:Pitchfork
647:Pitchfork
429:Reception
307:Ravedeath
276:students
263:Reykjavík
244:Reykjavík
216:Ben Frost
212:Reykjavík
198:musician
73:Reykjavík
2105:No Highs
1919:June 16,
1805:July 25,
1645:July 25,
1613:July 25,
1608:AllMusic
1583:July 25,
1522:July 25,
1481:July 25,
1475:MusicOMH
1438:July 25,
1403:July 25,
1366:July 25,
1322:July 25,
1221:July 25,
1142:Exclaim!
1058:July 25,
1018:krank154
597:MusicOMH
486:AllMusic
421:MusicOMH
364:Vangelis
348:Slowdive
342:artists
340:shoegaze
232:Montreal
57:Recorded
49:Released
39: by
2077:Virgins
2049:Mirages
1861:May 12,
1728:. 2011.
1288:May 12,
1005:Format
721:average
267:Iceland
175:(2011)
166:(2011)
157:(2009)
92:Ambient
77:Iceland
2091:Konoyo
1909:aux.tv
1682:May 3,
1248:Kranky
1091:Kranky
1014:Kranky
799:Length
652:8.6/10
480:Rating
477:Source
467:86/100
457:8.0/10
447:Rating
444:Source
297:Kranky
204:Kranky
133:Kranky
111:Length
65:Studio
2098:Anoyo
1945:CARAS
1778:Uncut
1362:. BBC
1021:2×LP
999:Label
941:52:24
796:Title
755:Uncut
748:Both
743:'
671:Uncut
664:4.0/5
552:4.5/5
402:Theme
329:drone
236:Banff
214:, by
128:Label
97:drone
84:Genre
1980:2019
1952:2013
1921:2011
1891:2011
1863:2013
1835:2012
1807:2011
1758:2011
1704:Mojo
1684:2019
1671:Fact
1647:2011
1615:2011
1585:2011
1553:2019
1524:2011
1483:2011
1440:2011
1405:2011
1368:2011
1324:2011
1290:2013
1255:2011
1223:2011
1192:2011
1150:2011
1105:link
1060:2011
996:Date
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920:4:08
909:4:12
898:3:25
887:3:52
876:4:22
865:6:11
854:3:24
843:5:01
832:6:01
821:4:52
810:2:54
752:and
730:and
640:7/10
559:Mojo
547:Fact
540:9/10
362:and
356:Bach
346:and
290:rave
234:and
2115:EPs
1775:".
1725:NME
1722:".
1701:".
1026:CD
925:12.
914:11.
903:10.
792:No.
635:NME
274:MIT
261:in
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