Text At Juno Download

Review: We're not going to lie - it's always super-exciting when a new Four Tet record drops and even more so when it's been pretty much unannounced. Here, our main man Kieran Hebden has unearthed a collection of jams dating back to the late 90s and early 00s - back in the days of the 0181 greater London telephone code, but these electronic excursions are in no way a reference to the past and in fact, they sound damn near futuristic. In all honesty, this is basically a livejam mix of Hebden's unreleased material, a near 40 minutes of dreamy harmonics and cutting-edge drum breaks, soaring to depths and highs of all sorts - jazzy vibes, peaks of electronica and much more. Giving you a detailed account of the affair just wouldn't do it justice, there's simply too much musical diversity and sonic experimentation right here, but, what we will tell you is that this release contains all the ingredients which make Four Tet's music so brilliant. A must have.

Review: We're not going to lie - it's always super-exciting when a new Four Tet record drops and even more so when it's been pretty much unannounced. Here, our main man Kieran Hebden has unearthed a collection of jams dating back to the late 90s and early 00s - back in the days of the 0181 greater London telephone code, but these electronic excursions are in no way a reference to the past and in fact, they sound damn near futuristic. In all honesty, this is basically a livejam mix of Hebden's unreleased material, a near 40 minutes of dreamy harmonics and cutting-edge drum breaks, soaring to depths and highs of all sorts - jazzy vibes, peaks of electronica and much more. Giving you a detailed account of the affair just wouldn't do it justice, there's simply too much musical diversity and sonic experimentation right here, but, what we will tell you is that this release contains all the ingredients which make Four Tet's music so brilliant. A must have.

Review: The "Jupiters" remixes are finally available on digital format and this time it's a strictly UK affair, with Happa and Jamie XX on remix duties! Happa's re-interpretation of "Jupiters" is a thumping beast of a track, where a startling bass drum churns its way across a militant percussion - violent hi-hats and snares all round, coated graciously by the most ominous synth stabs to have ever appeared on a Four Tet record! Jamie XX's take on "Lion" is a calmer, sub-heavy parade of swinging drums and mutating bass lines, growing in ferocity with every new bar.

Review: Primarily comprised of previously vinyl-only tracks released by Kieran Hebden on his own Text imprint over the past 18 months, you'd be forgiven for wondering if Pink should be treated as a proper Four Tet album or not. The answer is an emphatic yes; although several of these tracks are more dancefloor focused than we've seen previously, the melodies and textures are unmistakably Hebden. "Locked" for instance has the loose rhythmic structure and bass weight of dubstep but the kind of acoustic textures of his Rounds era material, while "Lion" combines Border Community style minimal techno with the unmistakable Hebden glockenspiel. "Jupiters" experiments with swung garage beats in an unmistakably UK Bass style, while "128 Harps" is a whipcrack MPC workout given his light melodic touch and "Peace On Earth" is a beatless 11 minutes of analogue kosmische. But it's the centrepiece of Hebden's Fabriclive mix, the brilliantly moody "Pyramid", and the loose limbed jazz-house of "Pinnacles" that really set this album apart from his other long-playing efforts, two examples of timeless dance music which demonstrate why after nearly 15 years in the game Hebden is only improving with age.

Review: Featuring Kieran Hebden (aka Four Tet) on production duties and Radiohead's Colin Greenwood on bass, Into The Trees is the Chicago-based folk singer Kathryn Bint's second album for the Text imprint run by the aforementioned Hebden. The sedate, folky dreamscapes within are undoubtedly helped along with Hebden's hands, especially on the minimal analogue accompaniment of "Bloom" and slightly skewed acoustic textures of "Simmer Down Simmer", but ultimately it's Bint's beguiling vocal charm that will win over the staunchest folk sceptics.