Nice surprise on the D side as well. There are moments of ambient bliss like “1993 Band Practice,” which leads into the largely beatless “Green.” Four Tet primarily keeps this geared for listening at home or blissful moments on a future dancefloor or field. For two decades, Four Tet has stayed remarkably consistent. Sixteen Oceans is 16 tracks long, yet five of them are basically interludes—minute-or-two-long sketches made of watery synth pads, tape hiss, or rudimentary beats. That dancefloor energy is mainlined with into “Insect Near Piha Beach,” which may be the heaviest on the record, but doesn’t skip out on fluttering guitars and fx. The predominance of birdsong gives the album the feel of a stroll through an aviary; when there are voices, they are invariably wordless, pitch-shifted, and just this side of melancholy. Regardless of tempo, they all share the same basic elements: acoustic instruments (harp, flute, bells, and harpsichord) interwoven with dreamy synthesizers that curl like wisps of colored smoke. Or, paradoxically, not sending out advance copies of your album. The long, epic and danceable “Love Salad” allows Four Tet to craft a hypnotic composition that slowly builds and builds with synths, harp, acoustic guitar and some drums underneath to a gritty and low-lying finish. Four Tet has garnered a cult following over the past decade with his quirky, melodic and beautiful productions that defy one single genre characteristic. The tracks, along with other remixes from Morgan Geist and Four Tet, will be released on vinyl July 31st.
Four Tet is outstanding at building great albums and Sixteen Oceans is another example of that. Sixteen Oceans carries on that tradition, exploring a new and exciting sonic color wheel to sample from. Sixteen Oceans is a lush and beautiful exploration of how house, ambient and melodic house music all comes together. The Craig Richards-curated UK event has been postponed until 2021 due to the coronavirus pandemic. The view’s lovely, but for the moment, it feels like Hebden is sailing in circles. The much-loved UK artist innovates through ambient.
Pick up a copy here, on vinyl and stream below. It’s hard to think of another electronic musician whose work feels so tactile: Sampling acoustic instruments from folk and jazz recordings, his music revels in the physicality of sound—the way a plucked string quivers in the air or a drum brush tickles a snare head. “Love Salad” is virtually the platonic ideal of a Four Tet song, but as it gathers force, it begins to spill over into exciting dissonance. Until now, Kieran Hebden has kept his music fresh by subtly tweaking his formula. Four Tet, Block9, Daniel Avery and more showed their support on social media today. There is this feeling of cosmic healing throughout the whole thing. His touch is unmistakable, and while Sixteen Oceans is frequently gorgeous and sometimes gripping, there are signs he’s starting to repeat himself. Four Tet’s music is a perhaps too-easy-to-understand yet still a perplexing perennial concern. Four Tet has garnered a cult following over the past decade with his quirky, melodic and beautiful productions that defy one single genre characteristic. In a pandemic, we must turn to each other for support. The album opens with the upbeat “School” with a strong kick, shaking percussion and a soaring synth melody on top. Along with the use of field recordings, these are staples of the music that's made Kieran Hebden such a well-liked figure. They tap out at “beautiful” rather than tipping over into the ecstatic. A little bit of a diversion from past Four Tet releases, Sixteen Oceans feels like Hebden is taking a moment to stop and reflect on his family, his environment, music culture, and … The album shines on the singles like “Teenage Birdsong,” the Ellie Goulding assisted “Baby” or “4T Recordings,” but it is held together by everything in between. ico_close.
Then there's playing with words and symbols, giving tracks titles like ". In sound and spirit, Sixteen Oceans feels like a companion to New Energy, a mix of club-ready barnstormers and downbeat daydreams, held together by field-recorded miniatures and ambient etudes. Ten years ago, with There Is Love in You, he began channeling the energy of clubs like London’s Plastic People, a basement joint where dubstep and house were spawning mutant forms.
Morning/Evening’s pair of hypnotic, 20-minute tracks took an extended detour into Indian devotional music and film soundtracks, and 2017’s New Energy synthesized all of his interests, looping back to the slow-motion bliss of his early work on songs like “Two Thousand and Seventeen” and reasserting his peak-time bona fides on floor-fillers like “SW9 9SL.”. Sixteen Ocean is definitely a record to listen to on your own or with someone you feel comfortable enough to sit in complete silence. From titles like “1993 Band Practice,” “Bubbles at Overlook 25th March 2019,” and “Mama Teaches Sanskrit,” one gets the sense that many of these pieces have personal meaning for Hebden, but these blurry snapshots don’t impart much more than a feeling of bittersweet serenity. Were they threaded more evenly through the album, they might serve as a kind of mood-stabilizing connective tissue between the more upfront songs; as it is, they feel mostly like an extended denouement, a slow drift into the doldrums.
CTEMF 2020: Friends & Frequencies features music from Four Tet, Egyptian Lover and Ectomorph. Lots of tiny details in the instruments he's using. (Pitchfork earns a commission from purchases made through affiliate links on our site.).
But “School” and Something in the Sadness,” which are virtually identical—same key, instrumentation, same tempo, practically the same beat—somehow never manage to spark the same sort of rapture. Like Four Tet."
Pitchfork is the most trusted voice in music. Four Tet has released his new album Sixteen Oceans and it couldn’t have come at a better time. Slower tracks, like “Teenage Birdsong” and “Romantics,” fall back on spaced-out hip-hop grooves. Sixteen Oceans carries on that tradition, exploring a new and exciting sonic color wheel to sample from.
This trend continues through the first half, though interrupted by the “Harpsichord,” which is exactly what the title suggests, fading after several songs of up-tempo beats and beautiful melodies to match. It's a big, bold sparkling thing, delivered by what could be a harpsichord or toy piano, that's paired, naturally, with a swung, subtly decentred beat that packs some punch. A necessary moment of respite to reflect on one's origins after twenty years in the business of crafting delicate, mind-tickling Microhouse. As things look like being inside a lot in the … With ’Sixteen Ocean’ he reels off 10 tracks of signature, lilting rhythmelodic cadence at an unhurried pace, including his ‘Teenage Birdsong’ tune. That's the moment at which Sixteen Oceans' first melody unfolds. View the full artist profile, Kieran Hebden casually dropped the news in the comments of a livestream, where he said that there's "other new stuff coming too.". Label founded by Kieran Hebden. Strangely, most of them fall toward the end of the album. Sixteen Oceans is best when Hebden disturbs the placid surface. He uploaded the long-awaited KH version of "Lose My Breath," plus four more tracks, today. Avoiding standard promotion is another—like posting a tracklist via a Post-it Note. It is an hour that you can get lost in and we will need that over the next several months. “Insect Near Piha Beach” bumps along atop the sort of choppy drum groove that Hebden can write in his sleep, but its cascading pentatonic scales pile up in a way that sounds new, pouring down accelerating and decelerating runs in a way that threatens to overwhelm the rhythmic grid. By now Hebden knows just how much his tracks need to make their point, and he keeps the arrangement sparse, save for a pad that swells cleverly around … Four Tet shares a palette of muffled rimshots and flashing hi-hats with his occasional collaborator Burial, and his more forceful beats remain charged with the snap and swing of 2-step. With Pink and Beautiful Rewind, he pushed deeper into the dance floor, teasing the balance between his own vision and dance music’s collective spirit. A response to an electronic music artist doing any of the following might well be, "Ah!
Chimes, timpani, exotic drum patterns - all aiming to provide the listener with a zen-centered experience. Starting on May 2nd, the online event will feature more than 50 artists, including Four Tet, Erykah Badu and JME. His touch is unmistakable, and while Sixteen Oceans is frequently gorgeous and sometimes gripping, there are signs he’s starting to repeat himself. A quick glance at … Everything feels calibrated for a certain Goldilocks zone of wistful reverie—not too heavy, not too light, neither forlorn nor jubilant.
In a time when clubbing has been pretty much halted and electronic music fans are being told to stay indoors, an album like this seems perfect. Four Tet provides music to stay at home with. In fact, after “Something in the Sadness,” the record’s driving climax, the album’s final six tracks all zigzag between marginally differentiated pastel dream states. Music can also be a way of coping through quarantines and seemingly endless terrible news around the globe. View the full label profile, Four Tet is the electronic outlet for the solo work of Kieran Hebden. Sixteen Oceans, Four Tet's tenth studio LP, might be his most personal to date. The same could be said for Sixteen Oceans as a whole: The view’s lovely, but for the moment, it feels like Hebden is sailing in circles. Strangely, most of them fall toward the end of the album. Firstly, it'd be matching radiant melodies with shuffling, garage-inspired beats. Sixteen Oceans finds Kieran Hebden translating this avenue of success to corporeal nostalgia in more direct ways than he had before.
Kieran Hebden’s latest album of club-ready barnstormers and downbeat daydreams feels like a companion to 2017’s New Energy. Sixteen Oceans is 16 tracks long, yet five of them are basically interludes—minute-or-two-long sketches made of watery synth pads, tape hiss, or rudimentary beats.
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