Four Tet
Domino Records
(2008)
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There is a feeling of exhilaration that accompanies vivid dreams involving flying. Ones in which the body soars sans machine to great heights in an effort that in comparison would pale Icarus’ ascent into the heavens. The aural sensation provided by Ringer , the latest offering by Four Tet on Domino Records can be similarly felt as the effects of such a dream.

From the first few seconds of the opening track, Kieran Hebden takes a decided departure from the tried and true aesthetic that he pursued in past efforts. Although the song starts off with an effect reminiscent of the intro in “Mosquitoes,” a track from his earlier signature album, Pause , the song actually changes into a whole new sonic universe; transported to the steady 4/4 time signatures of the motorik rhythms and brooding ambiance of Krautrock. Yet as unexpected a turn, Hebden’s creative direction is a welcome surprise. By then, about four-fifths of the track have passed and the song ignites into a glorious percussive crescendo performed by the celebrated jazz drummer, Steve Reid, whom he’s worked closely with in the studio as well as onstage.

By and large, many are aware of Hebden’s career from his unconventional rise to world recognition. After his second album, his samplings of folk and soft electronic effects really codified the folktronic genre. When he was ‘discovered,’ he quickly garnered a cult following that blossomed into the coveted spot as opener for Radiohead on their European tour in 2003, as well as his song, “Slow Jam” snagging a high profile placement on the commercial for the Nike ad campaign.

What sets his work apart from other DJs’ and beatmakers’ is his keen sense of spatial awareness within the sonic universe he so deftly orchestrates. Also true of Ringer , he directs a syncretic blend of disco, afrobeat, and Krautrock with such pristine clarity that each specific musical quality is never lost upon the listeners. Owing partially to Hebden’s minimalist maxim, ‘less is more,’ his beats and electronic effects are used sparingly to spaced-out arrangements. This makes him especially unique within the field of electronica, when such deconstructive meanderings in beat-making can tempt the most talented to overload their tracks with layers of sound.

“Ribbons” mimicks the sensation of being underwater, with synthesizers shadowing the effects of bubbles that escape the diver’s mouth as he plummets deeper into the great blue abyss of music that Hebden so meticulously created; while the following track, “Swimmer”, sounds like the eerie, yet soothing echoes of movements underwater. Just as water typically represents the subconscious of the human mind, this is the sort of ponderous music that will readily slip the conscious and unconscious alike into an introspective mood as all great music should.

Another notable track, “Wing Body Wing” features a polyrhythmically dense barrage of Reid’s frenetic drumming spaced intermittently between Hebden’s vast and crystalline techno soundscape; ultimately showcasing both fine artists at what they do best. While it’s apparent during their incredible live shows in New York, the energy between the two during their recording sessions is also just as amazing.

The imagery throughout the thirty-two minute album, as implied by the track titles, is four inspiring instrumental gems that sonically translates the subtle sensations of flying through air or swimming underwater. It is a gentle sonic departure from his trademark sound, yet considering the originality and confidence that imbues each lush track, this album further reveals another facet to Hebden’s remarkably fresh musical career. After listening to Ringer , we’re convinced once again, that when it comes to cutting and rearranging sounds, we are in the presence of a master.

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Kieran Hebden & Steve Reid: http://www.kieranhebdenandstevereid.com/
Four Tet: http://www.fourtet.net/site/site.php