Kieran Hebhan has, as he often does offered listeners a series of 12” inches with a simple collective name and a few added extras under the name Percussions. Given that this method holds similarities to the release 2012’s Pink it is safe to call it a new (but still surprise) Four Tet album. Although the three very different but equally brilliant tracks Ascii Bot, Blatent Water Canon and KHLI have been part of his sets for some time they are finally, along with eight other tracks making their purchasable digital debuts. The album ‘2011-2014’ is available to listen to for free on Bandcamp or to purchase from the site for a small fee.
Sticking to the dancefloor-centric grooves that he has been creating since Rounds, Hebden takes us on another melodic journey that encompasses elements of techno, house, jazz, and vocal sampling, all of which make for an incredibly plush listen. The album starts by living up to the name of Hebden’s moniker as February 2014 uses light percussion and a steady build up that reads much like a Ricardo Villalobos track. We are quickly brought back down with the much more Four Tet sounding March 2013 before Blatent Water Canon hits you like, well, a water canon!
Sext brings the album back down again, this time to slow build ups through multiple sonic layers before the introduction of grooves in October 2011 and KHLI, two tracks that exemplify the album’s wonderful variation. Elements of Indian Raga and dark techno sandwich stand out track Ascii Bot, a beautiful eight minute symphony that I have loved since its release last year. As the album closes you can’t help but feel you have been exposed to a smorgasbord of delicately engineered beats, riffs and melodies, all of which have a unique identity and never boarder on repetitive.
Having pioneered Folktronica in the early millennium, championed 4×4 dance music from 2010 onwards and reminisced Garage and Jungle on 2013’s Beautiful Rewind, ‘2011-2014’ is an amalgamation of sounds from an extensive back catalogue. The album is yet another triumph for the musician who has, as always made music to think about as well as dance to.
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Review by Tristan Shorrock | @trizzywoo