You don’t even have to listen to Four Tet’s music to see how far removed it is from a sense of emotional immediacy. Just visit the Four Tet website. Look at the way Kieran Hebden announces his new album. Other minimalist techno artist resort to crazy marketing gimmicks to release their music. Hebden doesn’t even admit to being excited about having a new album coming out! He doesn’t admit to anything, besides the fact that some dude named Jason did the photography for that album!
The fact that Hebden announces album releases like other people announce a chance of light rain doesn’t mean he could care less about music. I think he just cares a lot less about releasing music than he does about making it. I don’t think I’m overreaching to say as much; Hebden works and releases at a Henry Ford pace.
If he doesn’t have a Four Tet album coming out (and he often does), he’s producing or recording something for his label, Text Records, collaborating with Radiohead, jazz drummer Steve Reid, or Burial, or playing all night sets in Brixton. I wrote the same thing a while back about Yo La Tengo, and I think it’s true of Kieran Hebden- he would be making music regardless of whether anyone bought a copy. He makes it for the sake of making it- he gets joy from the making.
This focus follows through into much of Hebden’s music – there is precision and lightness, a studiousness that ensures the process stays as important as the result. You can hear it in Four Tet songs, which crescendo and then do not over stretched, epic minutes. Though one can assume they are not products of improvisation, Hebden’s songs replicate the process of their creation; they are built, element by element over their length. By doing so, the songs challenge listeners- is a song more “complete” once all the elements are there (beat, melody, hook, etc.), as opposed to when those elements are building up? Are you as a listener OK with 15 seconds of climax in an 8 minute song? Are you here for instant gratification or can you hold on just a minute?
The whole thing (the lack of excitement in releasing music, the slow, deliberate pace of songs, the challenge to an audience) reminds me of Sol LeWitt and the instructions he provided for recreating his artwork. LeWitt was reluctant to speak about the motivation behind any of his work, but the idea that anyone could make a LeWitt, and that, perhaps the act of making such a drawing was powerful in itself, seems to mirror the emphasis on creative process you witness Hebden’s songs.
I’ve been listening to Fridge, Hebden’s band with his high school friends Adem Ihan and Sam Jeffers a lot recently. The band’s most recent album, The Sun, is across the board excellent. Similar to Four Tet, Fridge songs aren’t about a payoff; they’re about the build. The payoff sometimes doesn’t even arrive. Though it almost certainly falls into the genre of post-rock, Explosions in the Sky, this ain’t.
The most interesting moment on The Sun is when things appear the most human, the least purely instrumental. Listeners can surmise that “Lost Time” is different from other songs on the album because, from the start, there are real live human voices. This is rare not only because the rest of the album is entirely instrumental, but because, before they start singing, the voices on “Lost Time” seem to be planning out the song, talking about who will come in where in hushed quickspeak. Listeners are privy to a group huddle from a band that seems so precise, so meticulous and idea-driven. And then the group start singing, layering one voice over the next, and a real shift begins.
None of the voices on “Lost Time” voices are especially good at signing. They drop the melody, sing too high, chip their own keys and flatten themselves into muggy fuzz. That’s not to say they’re terrible, just that they’re pretty average- the way you or I might sing if we were asked to. But, as those pretty standard voices rise with the guitar, the impact they have grows as well. Compared to the stellar musicianship and feeling of composure in most Four Tet and Fridge songs, the track feels looser and maybe even a bit sentimental. While “Lost Time” is different from Hebden’s other work what it stands as is the proof that, even though Fridge might be doing it for themselves, there are doing it for themselves with delight.
“Angel’s (Four Tet Remix)” is an unreleased remix of an XX song.
Also, I know you do not need to be told to get pumped for the new Neko Case album, but all the same, this will get you pumped for the new Neko Case album.
Also, I know there is a slight chance you might need to get pumped for the new Califone album because it’s been a few years since their last one, this will nurture a heart-first crush on the new Califone album.