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Electronic - Released May 13, 2013 | Domino Recording Co

Distinctions The Qobuz Ideal Discography - Pitchfork: Best New Reissue
25 years old, his third solo album and first masterpiece. In Spring 2003, Four Tet secured himself as one of the United Kingdom’s unmissable electronic producers with Rounds, an entirely instrumental album in which some 300 samples are used! The most famous, that of Winter by Tori Amos on Unspoken, has since been dropped due to rights issues – the track has now been reworked. For the rest, Kieran Hebden rummaged deeply though the record trays, to places where others wouldn’t dare venture. This pays off with the surprising and tenacious sample from French 70s folk group, Malicorne, where the scarcely retouched loop from Le Bouvier features on the remarkable As Serious As Your Life, and would go on to be the object of an equally splendid remix by Jay Dee with Guilty Simpson that same year. Known for laying the foundations for the folktronica genre, Rounds is, from end to end, a muddle of drums, percussion, brass, bells and strings. It’s a truly industrious work that gives a rarely equalled sense of unity, from the nursery-rhyme-like My Angel Rocks Back and Forth to the hip-hop Unspoken. A masterpiece that’ll make your ears curl like no other. © Smaël Bouaici/Qobuz
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Ambient - Released December 25, 2020 | Text Records

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Ambient - Released March 13, 2020 | Text Records

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This is the tenth studio album by the stalwart of the British electronic scene; Sixteen Oceans offers an hour-long journey through Four Tet’s inspired mind. The album which could too hastily be labelled ‘ambient’ starts off upbeat with School and Baby, a perfect warm-up with a 2-step beat and a “Take Me On” chopped vocal (a catchy Ellie Goulding sample). Granted, Harpsichord (featuring notes played on the instrument of the same name), Green and 4T Recordings (which resound like the soundtrack to a forest on Pandora) are pretty ambient, but they also prove that Four Tet is no one trick pony. The producer dives into downtempo/electronica with tracks such as the single Teenage Birdsong and its jumble of blades and keyboards, spoils us with the Burial-esque underground beat of Love Salad and gets trippy with aquatic samples (Bubbles At Overlook 25th March 2019). Some standouts from this album full of surprises include Something in the Sadness, a nod to Mathew Jonson, and Insect Near Piha Beach, started off by a heavy techno kick and gradually soothed by a swarm of strings and heavenly voices that result in an astonishingly masterful sonic chiaroscuro. ©️ Smaël Bouaici/Qobuz
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Ambient - Released September 29, 2017 | Text Records

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A crazy tinkerer from the techno sphere, Kieran Hebden aka Four Tet pens a ninth UFO, of which he has a knack for creating. The bulimic British—who, when he doesn’t work on his own music, mixes for The XX, A$AP Rocky, Oneohtrix Point Never, Aphex Twin, Explosions In The Sky, Super Furry Animals, Radiohead, Ellie Goulding, Lana Del Rey, Manic Street Preachers, Sia and even Black Sabbath—pursues here his 360° electro-new age trip armed with the Ableton Live software. His world is atmospheric at times, overtly techno at other times, sometimes even world, and, in any case, completely impossible to pin down. Four Tet being absolutely eclectic (he had penned a splendid FabricLive volume in perfect line with his kaleidoscopically personality, an intense trip in 2-step and garage land where we notably crossed paths with Dan Snaith, his friend from Caribou, but also with Burial, Crazy Bald Heads and even the master Ricardo Villalobos), his disc looks like him more than ever. It’s some great piece of art with no blinkers on, conceived with Kaitlyn Aurelia Smith on synths (on LA Trance) and Tom Bake at the hang (on Lush). © MD/Qobuz
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Ambient - Released July 18, 2019 | Text Records

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Ambient - Released January 24, 2020 | Text Records

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Electronic - Released October 4, 2013 | Text Records

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Ambient - Released August 30, 2019 | Text Records

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Since his most recent album New Energy (2017), Four Tet (Kieran Hebden) has stayed relatively busy, releasing a live album in 2018 and the two standalone singles –"Teenage Birdsong" and "Dreamer"–in 2019. His new EP Anna Painting is a return to form, mixing energetic four-on-the-floor rhythms with beautiful, sweeping ambient synths and his uniquely organic sampling style. The opening title track begins with sixteen bars of a strange, looping voice sample, which then explodes into a techno beat layered with ambient texture. "Lahaina Noon" takes cues from Aphex Twin's 1995 classic ...I Care Because You Do
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Electronic - Released August 20, 2012 | Text Records

Ambient - Released January 25, 2010 | Text Records

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Ambient - Released February 15, 1999 | Text Records

In 1998, at barely 20 years old, Kieran Hebden was already an extremely active musician. He had just signed to Output Records, Trevor Jackson’s label, with Fridge, the post-rock trio obsessed with sampling led by himself, Adem Ilhan and Sam Jeffers. He then went solo with the release of Thirtysixtwentyfive on Output, his first “album” composed of two 18 minute tracks. An iconoclasm which allowed him to record his first “true” album one year later in February 1999 with Dialogue, this time with separate, distinctive tracks.The arrival of this record on streaming platforms twenty years later opens a door to an “adolescent Four Tet” who had not yet become an electronic music star and the most sought-after remixer in England. It’s clear that this early Four Tet was already highly influenced by hip-hop and jazz as these elements are mixed into the record for what would be the first time. The beginning of The Space of Two reminds one of the abstract hip-hop heard of Prefuse 73. The record then unfolds into a very jazzy sound and drums which urge you to dance (Misnomer and the cosmic jazz The Butterfly Effect). Calamine is certainly the track which most foreshadows Four Tet’s future, with its use of strings and a more psychedelic sound with trance-like flutes from Emma Lindley and percussion mixed into the background. This record was not far away from his masterpiece Rounds, which was released four years later in 2003. © Smaêl Bouaici/Qobuz
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Ambient - Released April 18, 2019 | Text Records

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House - Released January 23, 2017 | Text Records

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House - Released July 5, 2017 | Text Records

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Electronic - Released July 10, 2015 | Text Records

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Electronic - Released May 5, 2003 | Domino Recording Co

For his solo projects, Fridge's Kieran Hebden is a lo-fi experimentalist who, had he been recording 15 years ago, would've been cranking out songs on a four-track recorder instead of a laptop. As demonstrated on his third record, Rounds, he's one of the few musicians capturing all the promise inherent in computer science -- being able to summon, manipulate, and mix any sound imaginable. The record offers something for nearly every audience that could approach it, with a bit of a groove for electronic fans, an obtuse sense of music-making for experimentalists, and a dreamy melodicism sure to endear it to indie pop fans. The opener, "Hands," is especially breathtaking: it begins with a few seconds of drum samples, surgically inserted and ill-timed, but opens into a warm, melodic production with a simple frame-kit beat outlining Hebden's guitar-and-keyboard atmospherics. "My Angel Rocks Back and Forth" features a music box melody playing against softly shaded, backmasked guitar and a subdued, grating percussion line reminiscent of an iron lung. The nine-minute "Unspoken" alternates guitar and piano playing the same beatific melody, over another simple beat and tambourine claps. Though Rounds is experimental by nature, Kieran Hebden's gift for melody and emotional shading allows his records to be enjoyed by an audience wider than merely experimental listeners. © John Bush /TiVo
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Electronic - Released September 13, 2005 | Late Night Tales

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Electronic - Released May 15, 2001 | Domino Recording Co

On his second full-length as Four Tet, producer/mixologist/computer kid Kieran Hebden further f*cks with the notion that turntablism and electronica are essentially "nothing more than" computer music. While it's true that all the rhythms, melodies, and harmonies here are collaged samples combined with turntable wizardry, uninformed listeners would be hard-pressed to find anything but a few drum loops that sound as if they were composed and recorded by a band. For starters, on his opener, "Glue of the World," acoustic guitars, zithers, harps, and string basses wander around a minor-key riff that is augmented by a slip 'n' slide hip-hop rhythm with a sharp, in-your-face, drum-'n'-no-bass interlude. The track is a weave; it blends new age, acoustic jazz, and flamenco music in a golden braid that is heavenly. On "Twenty Three," steel drums, bells, and African and Balinese rhythm instruments open the way for an electric piano and acoustic guitar riff aided by a set of congas and bongos to come charging in DJ Shadow style. Just as the West African folk music theme settles, Hebden kicks it with hip-hop and a front line of trumpets, playing a long, slow, languid melody line. It's also beautiful that there are small interludes of found sounds, like typewriter keys re-sequenced against an electric piano to create nothing but an ambient rhythm track that sounds as much like somebody shuffling things around on a desk as anything else -- until you pay attention. On tracks like "Untangle," where the percussion sounds a little less organic, Hebden demonstrates with flashes and cross-fades how rhythms from all over the world can be unified by the turntablist's skill -- or perhaps by musicians themselves willing to play together, which would be ideal. Four Tet's Pause offers more proof that DJ culture still has plenty to offer, and that Keiran Hebden is just getting started in his experimentation with transcultural electronica. Organic as dirt, and full of an acid-head's sense of space, this one's a winner from start to finish. © Thom Jurek /TiVo
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Electronic - Released May 31, 2005 | Domino Recording Co

Kieran Hebden had every right to retreat from the folktronica tag stapled to his Four Tet recordings. Although he was the premier name in the sub-subgenre, and although his productions transcended even the cutest label that could be attached to them, the folktronica term was too clever by half; more importantly, no respectable artist in the indie underground can stand idly by while he's being pigeonholed. Nevertheless, the left turn Hebden has taken into jumpy Krautrock with 2005's Everything Ecstatic will make listeners yearn for the clever, nuanced productions he turned in on Pause and Rounds; fortunately, he hasn't completely forsaken his old ways. Early in the program, Hebden sounds more clearly derivative than he ever has; the spotlight track "Smile Around the Face" has one of Kanye West's chipmunk divas blandly merging into a sunny-day Avalanches production. "Sun Drums and Soil" begins with the menacing bell tones of an Autechre track and ends with the blatting horns of a free jazz workout, but the barrage of a percussion section never relents over six minutes. "Clouding," a criminally short interlude, is a turning point for Everything Ecstatic -- all of the album's best moments occur on the second half (and they are very good). "Turtle Turtle Up" and the shifting epic "Sleep, Eat Food, Have Visions" are nominally electro productions, but they're some of the oddest and most attentively produced electro tracks to ever appear on record. (On the latter, the slight influences of the Orb are assimilated into the whole, not pasted on top.) The final track, "You Were There With Me," transforms the sound of Balinese gongs into an isolated, nightmarish production with only a faint heartbeat for a rhythm track. Hopefully, using Everything Ecstatic as necessary distance, Hebden can either return to the sound of his early records or transform his new direction into styles worthy of his production talents. © John Bush /TiVo
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Dance - Released June 26, 2000 | The Leaf Label