Tim Hecker: Ravedeath, 1972

Label: Kranky

For my money, Tim Hecker is the best electronic composer today (especially now that Milton Babbitt is no longer with us), and his latest release, Ravedeath, 1972, once again shows the master in fine form. The back stories behind an album are usually good for just filling space, but this one holds genuine interest. Hecker holed himself up in a church in Reykjavik and recorded this album in little more than a day, using primarily the church organ. The results are stunning. The organ gives the music remarkable depth and texture, far deeper than the usual electronic fare, particularly on the gorgeous three-part "In the Fog" and the rich, densely layered "Studio Suicide." On "Analog Paralysis" Hecker employs subtler sounds, lush and lovely, without losing the grandeur of the instrument. Meanwhile, the title track, which opens the record, is a feast of choppy synths and bold rhythms. "Ambient" just won't do in describing Hecker's music, not when it comes to music this rich and alive. On Ravedeath Hecker worked with the Iceland-based musician Ben Frost (whose work you should check out as well), and the two have great chemistry. Stravinsky once famously intoned about the church organ: "The beast doesn't breathe." This music not only breathes, it pulses with life and energy. A sure candidate for one of the year's best electronic records.