{"product_id":"four-tet-there-is-love-in-you-2lp-text","title":"Four Tet - There Is Love In You (2LP) [Text]","description":"\u003cp\u003e\u003ciframe loading=\"lazy\" height=\"352\" width=\"100%\" src=\"https:\/\/open.spotify.com\/embed\/album\/6x2gG7Pw1g54ZjQWjiAVCK?utm_source=generator\" style=\"border-radius: 12px;\" data-testid=\"embed-iframe\"\u003e\u003c\/iframe\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eFormat: \u003c\/strong\u003e2x12\" 180g gatefold. \u003c\/p\u003e\n\u003cp\u003eKieran Hebden first emerged onto the scene in the nineties as a member of Fridge, a post-rock band that, to me, always looked better on paper than they sounded on record. Whatever one thinks of his early band, Hebden’s subsequent career can be understood as the idea of post-rock executed well. His musical appetite, judging by his albums, singles, DJ sets and collaborations, is ravenous. But Hebden has a particular way of transforming and integrating influences rather than simply channeling them. So, while his loose, improvisational collaborations with drummer Steve Reid captured something of the spirit of classic late-sixties Impulse! label free jazz, they also succeeded in building a unique, clearly identifiable aesthetic that sounds very contemporary. When working with others, such as the free-folk collective Sunburned Hand of the Man or dubstep producer Burial, Hebden knows when to lead and when to step aside. And, at all times and in all contexts, he is absorbing. When it comes to his own records as Four Tet, he has a knack for combining sounds from everywhere and making them his own.\u003c\/p\u003e\n\u003cp\u003eRounds is the only undisputed Four Tet classic, but all of his records are at least good. It's not uncommon for Four Tet albums to have a few weaker moments, but given Hebden's working method, that's never a big problem. He's expected to explore, so it's okay if something doesn't quite fit once in a while. Ringer, an intriguing 2008 EP that pulsed with a minimalist beat and revealed a surprisingly austere side of his music, is a good example. It was the kind of record you wanted to approach slowly, because it felt like there was more going on beneath the surface than initially perceived. The album that followed, There Is Love in You, is the glorious sound of those ideas coming to fruition.\u003c\/p\u003e\n\u003cp\u003eThis is, by some margin, Four Tet’s most focused album, and for some listeners that might be a drawback. Hebden reportedly refined this music over a long period as a resident DJ at London club Plastic People. He would play developing versions of the tracks in his sets, observe how people reacted, and go back to them armed with that information. And while the result isn’t dance music proper, There Is Love in You clearly functions on that plane. It's not fist-pumping music flirting with pop pleasure, like one of my favorite Four Tet tracks, “Smile Around the Face.” Nor is it an album that overwhelms with the density and complexity of its textures. Instead, it is music that is both cerebral and physical, subtle yet powerful, made for thinking and moving — or ideally doing both at the same time: it had been a long time since a brisk walk through the city sounded so good.\u003c\/p\u003e\n\u003cp\u003eIn the early 2000s, the somewhat cheesy word “folktronica” was sometimes applied to Four Tet's style. It never quite defined him, but it was used because it described his fondness for samples of sounds that seemed to resonate in a physical space. He sampled jazz cymbals, guitars, gamelan-style percussion, and vocals, mixing them with sinuous electronic lines and chopped breaks borrowed from hip-hop. Hebden's affinity for acoustic sounds made his music sound unusually airy and light. It hinted more at daylight than at the nocturnal crackle of sampled vinyl. Although Love is a very different album from those early works, remnants of that sound palette remain, providing a similar sense of clarity, brightness, and warmth, despite its late-night, club-oriented inspiration.\u003c\/p\u003e\n\u003cp\u003eThe album opens with a crisp cymbal stroke on “Angel Echoes” that sounds perfectly live until, a few beats in, a quick digital stutter appears; then a clipped female voice enters, reduced to simple syllables but still conveying a strong sense of longing, beginning to loop. There are bells, a steady mid-tempo 4\/4 kick drum, and that voice, and little else. But “Angel Echoes,” like most of the record that follows, proves oddly moving despite its limited set of resources. After ending abruptly and dropping into the brilliant, much longer, and darker-toned “Love Cry,” it begins to become clear that another influence might be at play: the music produced by Hebden's schoolmate Will Bevan, also known as Burial.\u003c\/p\u003e\n\u003cp\u003eThe two collaborated last year on an intriguing two-track 12”, and at the very least, Hebden's consistent return here to the texture and expressive possibilities of vocal fragments establishes a clear link. “Sing,” halfway through the album, is the most poignant and overtly beautiful example of this technique, intertwining the rhythmic house drive — the push and pull between kick and snare, percussion fragments, and a short, repetitive synth motif — with an alien, genderless voice that curls into a kind of tired howl. The effect reminds me of nothing so much as the “ah-AH-ah” vocals that slink through Aphex Twin's immortal “Windowlicker,” and Hebden's processing gives “Sing” a similar sense of simultaneous rootedness and strange dislocation.\u003c\/p\u003e\n\u003cp\u003eHebden has studied Aphex Twin carefully, having made his first big splash in 1999 when he remixed a track from SAW II for one of Warp's tenth-anniversary compilations. At other points on Love, you can find the creative fusion of beats and classical minimalism that producers like Richard James and Nobukazu Takemura were exploring in the nineties. A range of metallic percussion appears, arranged in hypnotic grid-like patterns that gradually build and transform throughout the track. The vocal sample in “Circling” doesn't appear until two-thirds of the way through the track, and it brings with it a set of bright electronic tones that evoke the iconic pulse of Reich and Riley's minimalism. The balanced, sleepy “This Unfolds” features several layers of gently shimmering sounds happening at the same time, and one can shift perception to follow any of them or simply let it all wash over. While mostly restrained and wasting no notes, There Is Love in You always has just enough going on to pull you back in whenever you feel tempted to relegate it to the background. It works best listened to as a whole, rather than fragmented into individual tracks.\u003c\/p\u003e\n\u003cp\u003eEvery time There Is Love in You reaches its close with “She Just Likes to Fight,” a quietly beautiful instrumental built around a straightforward guitar melody, I start to think about Hebden’s early days. There’s a moment at 2:18 where the music pauses for an instant as a plucked guitar harmonic rings out, and it takes me back for a split second to “Harmonics,” the acoustic guitar instrumental that is the only Fridge song I unreservedly love. It’s such a basic, elemental thing—the harmonics of a single metal string vibrating into place—but in the right hands it becomes a tool capable of bringing about a surprising emotional release. The simple power of sound is something this guy has understood from the beginning.\u003c\/p\u003e","brand":"Tenampa Record Shop","offers":[{"title":"Default Title","offer_id":46709337129123,"sku":null,"price":799.0,"currency_code":"MXN","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0583\/1239\/2867\/files\/image_33d31600-0230-410a-b20e-b210ac743e5c.jpg?v=1767399731","url":"https:\/\/tenampa.mx\/en\/products\/four-tet-there-is-love-in-you-2lp-text","provider":"Tenampa","version":"1.0","type":"link"}