From his critically-acclaimed, yet timid debut as a
side solo project from avant-rock outfit Fridge
to his last album ranking as one of the seminal electronic
records of this decade, Four Tet has become one of the
most recognised names around, reaching far beyond the
usual realms of electronic music. In just three albums,
he has defined his own recognisable sound, rooted in
psychedelic rock, spiritual jazz and contemporary dance
music, and spurted hordes of followers.
Hebden’s first solo album, Dialogue,
released in 1999, came on the back of his epic debut
single Thirtysixtwentyfive, and began to establish
his blend of jazz and acoustic-infused electronica,
generating cult following. His second opus, Pause,
released a couple of years later, consolidated his sound
while hinting at far greater things as he seriously
expanded his sonic scope and potential. With his solo
project becoming more and more prominent, Hebden found
himself very much in demand and embarked on a punishing
schedule of live appearances at festivals and venues
all over the world, while also regularly deejaying.
His third album, Rounds,
finished establishing him once and for all as one of
the influential musicians.
Everything Ecstatic is in many ways a very
different record from its predecessors. Right from its
title to the bright colours adorning its front cover
and the music featured, this fourth album radiates with
joy and enthusiasm. If Hebden remains close to the sound
that got him where he is, he also explores a whole new
range of ambiences and sounds, embracing the dance floor
as his terrain of predilection and once again bringing
a far more extensive range to the table. From the opening
moment of the aptly titled A Joy to the end
of You Were There With Me, shreds of free jazz,
rock and funk relentlessly poor onto the listener. Comfortably
establishing his ground on the opening track, Hebden
rapidly changes direction with Smile Around The
Face. Using a surprisingly straightforward drumbeat
as basis, he introduces a quirky melody, which is then
left wandering around while he is busy layering more
complex drum patterns in the background. Although instantly
recognisable as vintage Four Tet, this takes the listener
into rather unusual territory. Sleep, Eat Food,
Have Visions follows a similar principal later
on, but once again, the backdrop is totally unusual.
Firmly asserting the dance floor ascendance of this
record, Hebden indulges in an acid squelch-infested
sonic bath before adopting a more hypnotic tone for
the second half as he appears to be revisiting most
of the indie-dance of the early nineties.
Elsewhere, Hebden appears to stick closer to his earlier
sound, as on Sun Drums & Soil or the ephemeral
Clouding, over which the shadow of Alice Coltrane
in particular appears to stop for a bit, yet here again,
Hebden is seen frantically refining his sound, tidying
up his beats and reinforcing his soundscapes and atmospheric
constructions, even daring a touch of melancholy on
the superb And Then Patterns, without disturbing
in any way the dynamics of this record.
Despite its apparent upbeat attires, Everything
Ecstatic is something of a surprising slow burner,
revealing more of its contrasted geography with each
listen. So detailed and precise is the music on this
album that it takes a while to absorb its full impact.
Here, Hebden affirms with aplomb his musical identity
and redefines once again the Four Tet sound, keeping
well ahead of the competition.
4.7 |
