Newsgroup: it.arti.musica.rock
Titolo: Four-tet

http://www.pitchforkmedia.com/watw/03-05/four-tet.shtml
--
"You talk so fast to stop yourself from thinking / You move so fast so
you'll never see you're sinking"

 ha scritto nel messaggio
news:ba685b$p141t$1...@ID-124815.news.dfncis.de...

ho acquisito Pause accidentalmente tempo fa, disco interessante, meno l'ep
allegato, e, toh, guarda un po' chi ti trovo al nono posto?
9. Barry Dransfield:
Barry Dransfield LP
[Spinney]
"Delicate and intimate folk music on an album that had become incredibly
rare but has fortunately now been reissued. Wonderful guitars, vocal, fiddle
and clogs."
di cui ho parlato la settimana scorsa nel ng al piano di sopra.
a volte accadono strani intrecci, ma proprio strani strani, scary...

When Kieran Hebden released his second Four Tet album, Pause, two years ago,
he certainly got more than he bargained for. Follow up to his solo debut,
Dialogue, this second album took him far away from his guitar duty in
post-rock combo Fridge, as he was called to promote it and play all over the
world for nearly the whole of 2001. After returning to Fridge for a bit, and
following a highly successful tour with the band, as well as some more solo
live performances, including a support slot for Radiohead in Spain and
Portugal, Kieran returns to his successful Four Tet project with this third
album.
Kieran formed Fridge in 1996 with a couple of college mates. Hailing from
Putney, South London, the trio soon imposed their sound, a mixture of
art-rock and electronica, with a series of critically acclaimed EPs and
albums. Shying away from the limelight, the band voluntarily played complex
music, pushing boundaries in many directions to expand their sonic realm up
to the magnificent Happiness, released in the autumn of 2001. Hebden also
started experimenting with machines for his own benefit. His two first
singles as Four Tet, Thirtysixtwentyfive (a Fridge-esque title refering to
the length of the EP), and Misnomer, were both NME single of the week, and
the subsequent album, Dialogue, released on Trevor Jackson's Output
Recordings label, got a very warm reception from both press and public.
Mixing elements of jazz and soul, Hebden defined a very strong musical
identity, further developed on Pause a couple of years later. Pause was also
introducing some more laidback and complex ambiences as Hebden widened his
musical scope by introducing some elements of folk, R&B, hip-hop and
psychedelic pop. Combining musicality and relative abstraction, the album
was bringing electronic purists and post-rock devotees together.
If Pause was taking the Four Tet sound in new directions, Rounds sees Hebden
perfecting his style. 'This record has a 2am lonely feeling, because that
was largely when it was made, on my own, in my little flat' does he declare.
Focussing on emotional content rather than on technicality has allowed him
great freedom in the way he contemplates his influences. Although the ten
tracks of Rounds demonstrate a good sense of sound organisation, Hebden
chooses to concentrate on the musical aspect of his compositions rather than
on their atmospheric characteristics. It is not to say that his tracks are
devoid of any atmosphere altogether. Quite the opposite in fact as Hands,
which opens the album, She Moves She, the beautiful nine-and-a-half-minute
epic Unspoken or As Serious As Your Life prove again and again. Yet, it
feels as if the moods are the unexpected consequence of his musical
wanderings.
Close to the vision of his friend Dan Snaith, better known as Manitoba,
Hebden's interpretation of electronic music goes far beyond the classic
assumption that it has to sound utterly artificial. Using a wide range of
samples, he creates the illusion that everything was recorded live, yet
every single track is the result of a meticulous assemblage of various
elements processed on a computer, from pianos and guitars to drums and
effects. Often voluntarily breaking up his musical themes and rhythmic
sections to give more definitions to his compositions, he also knows when to
let a melody develop, as on the beautiful and melancholic And They All Look
Broken Hearted, definitely one of the highlights here.
As intricate and thought out as it might be, Four Tet's music actually feels
very spontaneous and organic, and this third album is very likely to
establish further Kieran Hebden's status as a major artist with a very
strong musical personality.