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▄▄░▀████████▄▄▄║D e B T i s S l a V 3 r Y S T u P i D║░▄▄▄████████▀░ ▀
░▓█████▓░░░ ░ ╚═════╗ ╔════════╝▀ ░ ░░░▓█████▓░
▄▄███░▓████▓░░▀▀ ▀ ║DuBi0uSlY EnDoWs YoU WiTh║ ▀ ▀▀░░▓████▓░███▄▄
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▐░ ▀▓████║ Tim_Hecker-Ravedeath_1972-2011-DeBT_iNT ║████▓▀ ░▌
▀ ░████╚════════════════════════════════════════════════════════════════════════════╝████░ ▀
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▄▄▀▀███████████▀▀▀ ▀▀████████████▀▀ ░
▄░▓███████▄▄▄░ ARTiST.... Tim Hecker ░▄▄▄███████▓░▀
░▓█████▄░░ ▄ ▀ TiTLE..... Ravedeath, 1972 █████▓░
▀░████▓░░▀ ░ ▀ LABEL..... Kranky ▀ ░ ▀░░▓████░▀
░▓███▓▓░ ▀ ▄▓▄ GENRE..... Ambient ▄▓▄ ▀ ░▓▓███▓░
▀▀░███▓░▄▄░ RiP.DATE.. 2011-06-03 ░▄▄░▓███░▀▀
▀ ▄███▀░░ STOREDATE. 2011-02-07 ░░▀███▄ ▀
░░▄▄██▀▀▀ SOURCE.... CD ▀▀▀██▄▄░░
░░▄▄██▀▀▀ QUALiTY... 232 kbps / 4410kHz / Joint Stereo ▀▀▀██▄▄░░
▄ ▄███▀░░ TRACKS.... 12 / 52:17 ░░▀███▄ ▄
▄▄░███▓░▄ ░ SIZE...... 91.92 MB ░ ▄░▓███░▄▄
░▓███▓▓░ ▄ ▄▓▄ RIPPER.... EAC Secure with LAME 3.98.4 ▄▓▄ ▄ ░▓▓███▓░
▄░████▓░░▄ ░ ▀ URL....... ░▓████░▄
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▄░▓███████▄▄▄░ ░▄▄▄███████▓░▀
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▄░███ NR. TRACKNAME TiME ████░▄
▄ ░████ ████░ ▄
░ ▄▓████ 1 The Piano Drop 2:53 ████▓▄ ░
░ ▄▓████ 2 In The Fog I 4:52 ████▓▄ ░
░ ▄▓████ 3 In The Fog II 6:01 ████▓▄ ░
░ ▄▓████ 4 In The Fog III 5:00 ████▓▄ ░
░ ▄▓████ 5 No Drums 3:24 ████▓▄ ░
░ ▄▓████ 6 Hatred Of Music I 6:11 ████▓▄ ░
░ ▄▓████ 7 Hatred Of Music II 4:22 ████▓▄ ░
░ ▄▓████ 8 Analog Paralysis, 1978 3:51 ████▓▄ ░
░ ▄▓████ 9 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 ████▓▄ ░
░ ▄▓████ ---------------------------------------------------------████▓▄ ░
▀▄░████▓ ████░▄▀
░▓████▓▄ TOTAL TiME: 52:17 MIN ████▓░
░▓███████▄ TOTAL SIZE: 91.92 MB▄█████▓░
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░▓█████▓░╟─────────────────────────────────────◄RELEASE NOTES►╢░▓█████▓░
░▓████▓░░║ ║░░▓████▓░
▄▀░████▓░▀║ 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. If the principle of plundering the past ║▀░▓████░▀▄
▄▀░████▓░▀║ to create the future is well established, Hecker ║▀░▓████░▀▄
▄▀░████▓░▀║ engagingly demonstrates how the many ║▀░▓████░▀▄
▄▀░████▓░▀║ possibilities it offers remains open. Split into ║▀░▓████░▀▄
▄▀░████▓░▀║ three multi-part pieces and several stand-alone ║▀░▓████░▀▄
▄▀░████▓░▀║ compositions -- some with titles continuing the ║▀░▓████░▀▄
▄▀░████▓░▀║ titular approach, such as "Analog Paralysis, ║▀░▓████░▀▄
▄▀░████▓░▀║ 1978" -- the overall effect of Ravedeath, 1972 is ║▀░▓████░▀▄
▄▀░████▓░▀║ a balance between sheer sonic wooziness and a ║▀░▓████░▀▄
▄▀░████▓░▀║ focused sense of construction; nothing seems ║▀░▓████░▀▄
▄▀░████▓░▀║ wholly random in each song's development even as ║▀░▓████░▀▄
▄▀░████▓░▀║ the feeling can be increasingly disorienting. Of ║▀░▓████░▀▄
▄▀░████▓░▀║ the multi-part pieces, the first, "In the Fog," ║▀░▓████░▀▄
▄▀░████▓░▀║ lives up to the name -- instead of enveloping ║▀░▓████░▀▄
▄▀░████▓░▀║ obscurity, however, it's more like a serene float ║▀░▓████░▀▄
▄▀░████▓░▀║ in darkness, with the organ tone loop running ║▀░▓████░▀▄
▄▀░████▓░▀║ throughout the second and third parts providing a ║▀░▓████░▀▄
▄▀░████▓░▀║ bed that whirs and arcing grinds rise and fall ║▀░▓████░▀▄
▄▀░████▓░▀║ on, an underscoring of violence that melds and ║▀░▓████░▀▄
▄▀░████▓░▀║ contrasts with the otherwise calm progression. ║▀░▓████░▀▄
▄▀░████▓░▀║ The concluding "In the Air" almost inverts this, ║▀░▓████░▀▄
▄▀░████▓░▀║ with the feedback tones and growls stabbing out ║▀░▓████░▀▄
▄▀░████▓░▀║ more directly in the first part while the second ║▀░▓████░▀▄
▄▀░████▓░▀║ increasingly brings in the otherwise half-sensed ║▀░▓████░▀▄
▄▀░████▓░▀║ piano. "Hatred of Music," meanwhile, doesn't ║▀░▓████░▀▄
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▄▀░████▓░▀║ which finds in its own calm way the kind of ║▀░▓████░▀▄
▄▀░████▓░▀║ beautiful, dark-toned ambience that has informed ║▀░▓████░▀▄
▄▀░████▓░▀║ the best work in the field of disturbing but ║▀░▓████░▀▄
▄▀░████▓░▀║ never aggressive electronic music. ║▀░▓████░▀▄
░ ▀▓████▀ ║ ║▄░████▓▀ ░
▀ ░████▓▄║ ║░▓████░ ▀
▀░████▓╟◄──────────────────────────────────────────────────►╢▓████░▀
▄ ░░▓███╠════════════════════════════════════════════◄QUOTES►╢╣███▓░░ ▄ ▄
░▄▄ ▀▀██████║ ║██████▀▀ ▄▄░
▀░▓███████▄▄║ You can't depend on your eyes when your ║▄▄███████▓░▀
▀░▓███████▄▄║ imagination is out of focus. ║▄▄███████▓░▀
▀░▓███████▄▄║ ║▄▄███████▓░▀
▀░▓███████▄▄║ -- Mark Twain ║▄▄███████▓░▀
░▓█████▄░░ ▄║ ║▄ ░░▄█████▓░
░▄▄ ▀▀██████╟◄──────────────────────────────────────────────────►╢██████▀▀ ▄▄░
▀░▓███████▄▄╠════════════════════════════════════════════════════╣▄▄███████▓░▀
▄▄▀▀██████╟────────────────────────────────────────◄GROUP NEWS►╢██████▀▀ ▄▄░
▄░▓███████▄║ DeBT is in need of SECURE affils ║▄▄███████▓░▀
░▓█████▄░░ ║ ║▄ ░░▄█████▓░
░████▓░░▀ ║ pre-release suppliers, bookware ║░ ▀░░▓████░▀
░▓███▓▓░ ║ ║▄ ░▓▓███▓░
▀▀░███▓░▄▄║ suppliers, iNT rippers, shell accounts, ║░▄▄░▓███░▀▀
▀ ▄███▀░║ ║░░▀███▄ ▀
░░▄▄█║ coders, crackers and anything else ║██▄▄░░
▄▄░▀█████║ ║██████▀░▄▀
░▓█████▓░║ that may be of use to us. ║░▓█████▓░
░▓████▓░░║ ║░░▓████▓░
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░ ▀▓████▀ ║ ║▄░████▓▀ ░
▀ ░████▓▄║ DeBT is dedicated to bringing ║░▓████░ ▀
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▄ ░░▓███║ you the best of the old, new and forgotten in a ║███▓░░ ▄ ▄
▄▄▀▀██████║ ║██████▀▀ ▄▄░
▄░▓███████▄║ variety of sections. If you think you have ║▄▄███████▓░▀
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░████▓░░▀ ║ what it takes don't hesitate to contact us. ║░ ▀░░▓████░▀
░▓███▓▓░ ║ ║▄ ░▓▓███▓░
▀▀░███▓░▄▄║ Keep it scene. Keep it safe. ║░▄▄░▓███░▀▀
▀ ▄███▀░║ ║░░▀███▄ ▀
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▄▄░▀█████║ C O N T A C T D e B T ║██████▀░▄▀
░▓█████▓░║ ~~~~~~~~~~~~~~~~~~~~~~~~~~~~ ║░▓█████▓░
░▓████▓░░║ ║░░▓████▓░
▄▀░████▓░▀║ DeBTisSlaV3rYSTuPiD@GMail.com ║▀░▓████░▀▄
░ ▀▓████▀ ║ ║▄░████▓▀ ░
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Üß°ÛÛÛÛ²°ßº A title like Ravedeath, 1972 is great because of ºß°²ÛÛÛÛ°ßÜ
Üß°ÛÛÛÛ²°ßº all the possible associations it calls up. A ºß°²ÛÛÛÛ°ßÜ
Üß°ÛÛÛÛ²°ßº time-traveling techno explosion, a John Brunner ºß°²ÛÛÛÛ°ßÜ
Üß°ÛÛÛÛ²°ßº novel title, a 1960s Frug winding down in a ºß°²ÛÛÛÛ°ßÜ
Üß°ÛÛÛÛ²°ßº horrible dry gulch? Whatever all the possible ºß°²ÛÛÛÛ°ßÜ
Üß°ÛÛÛÛ²°ßº associations, when Tim Hecker begins the album ºß°²ÛÛÛÛ°ßÜ
Üß°ÛÛÛÛ²°ßº with the at-once shuddering feedback glitch and ºß°²ÛÛÛÛ°ßÜ
Üß°ÛÛÛÛ²°ßº distant soothing bliss of "The Piano Drop," the ºß°²ÛÛÛÛ°ßÜ
Üß°ÛÛÛÛ²°ßº Canadian composer does seem to thrive in an ºß°²ÛÛÛÛ°ßÜ
Üß°ÛÛÛÛ²°ßº intersection of possibilities from multiple ºß°²ÛÛÛÛ°ßÜ
Üß°ÛÛÛÛ²°ßº sources. If the principle of plundering the past ºß°²ÛÛÛÛ°ßÜ
Üß°ÛÛÛÛ²°ßº to create the future is well established, Hecker ºß°²ÛÛÛÛ°ßÜ
Üß°ÛÛÛÛ²°ßº engagingly demonstrates how the many ºß°²ÛÛÛÛ°ßÜ
Üß°ÛÛÛÛ²°ßº possibilities it offers remains open. Split into ºß°²ÛÛÛÛ°ßÜ
Üß°ÛÛÛÛ²°ßº three multi-part pieces and several stand-alone ºß°²ÛÛÛÛ°ßÜ
Üß°ÛÛÛÛ²°ßº compositions -- some with titles continuing the ºß°²ÛÛÛÛ°ßÜ
Üß°ÛÛÛÛ²°ßº titular approach, such as "Analog Paralysis, ºß°²ÛÛÛÛ°ßÜ
Üß°ÛÛÛÛ²°ßº 1978" -- the overall effect of Ravedeath, 1972 is ºß°²ÛÛÛÛ°ßÜ
Üß°ÛÛÛÛ²°ßº a balance between sheer sonic wooziness and a ºß°²ÛÛÛÛ°ßÜ
Üß°ÛÛÛÛ²°ßº focused sense of construction; nothing seems ºß°²ÛÛÛÛ°ßÜ
Üß°ÛÛÛÛ²°ßº wholly random in each song's development even as ºß°²ÛÛÛÛ°ßÜ
Üß°ÛÛÛÛ²°ßº the feeling can be increasingly disorienting. Of ºß°²ÛÛÛÛ°ßÜ
Üß°ÛÛÛÛ²°ßº the multi-part pieces, the first, "In the Fog," ºß°²ÛÛÛÛ°ßÜ
Üß°ÛÛÛÛ²°ßº lives up to the name -- instead of enveloping ºß°²ÛÛÛÛ°ßÜ
Üß°ÛÛÛÛ²°ßº obscurity, however, it's more like a serene float ºß°²ÛÛÛÛ°ßÜ
Üß°ÛÛÛÛ²°ßº in darkness, with the organ tone loop running ºß°²ÛÛÛÛ°ßÜ
Üß°ÛÛÛÛ²°ßº throughout the second and third parts providing a ºß°²ÛÛÛÛ°ßÜ
Üß°ÛÛÛÛ²°ßº bed that whirs and arcing grinds rise and fall ºß°²ÛÛÛÛ°ßÜ
Üß°ÛÛÛÛ²°ßº on, an underscoring of violence that melds and ºß°²ÛÛÛÛ°ßÜ
Üß°ÛÛÛÛ²°ßº contrasts with the otherwise calm progression. ºß°²ÛÛÛÛ°ßÜ
Üß°ÛÛÛÛ²°ßº The concluding "In the Air" almost inverts this, ºß°²ÛÛÛÛ°ßÜ
Üß°ÛÛÛÛ²°ßº with the feedback tones and growls stabbing out ºß°²ÛÛÛÛ°ßÜ
Üß°ÛÛÛÛ²°ßº more directly in the first part while the second ºß°²ÛÛÛÛ°ßÜ
Üß°ÛÛÛÛ²°ßº increasingly brings in the otherwise half-sensed ºß°²ÛÛÛÛ°ßÜ
Üß°ÛÛÛÛ²°ßº piano. "Hatred of Music," meanwhile, doesn't ºß°²ÛÛÛÛ°ßÜ
Üß°ÛÛÛÛ²°ßº sound like a radical change from the other parts ºß°²ÛÛÛÛ°ßÜ
Üß°ÛÛÛÛ²°ßº in terms of overall feel or in matching with the ºß°²ÛÛÛÛ°ßÜ
Üß°ÛÛÛÛ²°ßº title's sentiment, but the low rhythmic rumble of ºß°²ÛÛÛÛ°ßÜ
Üß°ÛÛÛÛ²°ßº the second part, a steady progression punctuated ºß°²ÛÛÛÛ°ßÜ
Üß°ÛÛÛÛ²°ßº by soft piano additions and what sounds like a ºß°²ÛÛÛÛ°ßÜ
Üß°ÛÛÛÛ²°ßº howling, looming threat in the distance, is pure ºß°²ÛÛÛÛ°ßÜ
Üß°ÛÛÛÛ²°ßº atmosphere at its best. Then there's "No Drums," ºß°²ÛÛÛÛ°ßÜ
Üß°ÛÛÛÛ²°ßº which finds in its own calm way the kind of ºß°²ÛÛÛÛ°ßÜ
Üß°ÛÛÛÛ²°ßº beautiful, dark-toned ambience that has informed ºß°²ÛÛÛÛ°ßÜ
Üß°ÛÛÛÛ²°ßº the best work in the field of disturbing but ºß°²ÛÛÛÛ°ßÜ
Üß°ÛÛÛÛ²°ßº never aggressive electronic music. ºß°²ÛÛÛÛ°ßÜ
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