Tim Hecker in regards to the album art and concept behind Ravedeath, 1972:

“When I finished this album and it was time to do the artwork, I became obsessed with digital garbage, like when the Kazakhstan government cracks down on piracy and there’s pictures of 10 million DVDs and CDs being pushed by bulldozers. I kept thinking of these mountains of digital garbage. So while searching for stuff like that on Google I came across pictures of destroyed pianos. I discovered that MIT students started this ritual in the 70s where they throw a piano off a building.”

“…In my mind, there’s some connection between the computerized engineering that led to the codification of MP3s and music’s denigration as an object and thus a viable means of economic survival.”

What began as a mere model for album art became a concept for one of the best albums of Hecker’s career — that as we’ve entered the digital age and music has become further divorced from tangible, physical media, the more apparently disposable it has become. The title of the central “Hatred of Music” suite says it all — in 2012, what was once treated as high art in the analog domain has since been reduced to the status of transient, temporary relationships and one-night stands in the form of incorporeal, digital ephemera.

– Shane Michael Dignan

1. “The Piano Drop” 0:00
2. “In the Fog I” 2:54
3. “In the Fog II” 7:46
4. “In the Fog III” 13:47
5. “No Drums” 18:48
6. “Hatred of Music I” 22:12
7. “Hatred of Music II” 28:23
8. “Analog Paralysis, 1978” 32:45
9. “Studio Suicide, 1980” 36:37
10. “In the Air I” 40:02
11. “In the Air II” 44:14
12. “In the Air III” 48:22