Customer Reviews

Rounds

5 star:		(16)
4 star:		(12)
3 star:		(6)
2 star:		(3)
1 star:		(0)

 

 

Rounds isn't really a departure from Pause in any way so much as it is a
progression. It's certainly more immediate and focused, and the level of
emotional involvement is certainly much higher this time around. Where Pause
was sometimes noncommital and breezy, this record finds beauty in the cracks of plaster
and shafts of dusty light, and it's certainly a welcome change from most of the
genre's blind and dour worship of the glitch.

"Hands" opens the record with an ascending two-chord progression played by
lightly picked guitar and organ while the drums warm up to a slow but loose
rhythm which seems to wander around the Zildjian section of a music shop,
delighting in everything they find. The familiar atmosphere is here, but
somehow there's a greater sense of urgency as the track builds on a slow
crescendo but never quite releases. It's a powerful opener, evoking a sense of
wide, open spaces, similar in tone to Mum's "Green Grass of Tunnel."

"She Moves She" is the first single, and the first time I heard it, I didn't
care much for it, but hearing it context makes much more sense. It opens with
a limber drum track overlaid with an absent-minded dobro that wouldn't sound
out of place on a Ben Harper record somewhere. In the chorus (of sorts), a
distorted acoustic guitar sample stabs into the mix in a staccato patter just
coherent enough to imply chord changes. It sounds like Fennesz, except more
focused and driven. The verses are carried by a glockenspiel which manages not
to sound the least bit fey, and toward the end, the whole ensemble is filtered
down to single notes on the offbeat, and the track leans toward a two-step feel
similar to "Untangle."

"My Angel Rocks" rides an echoing loop of static and rimshots that sounds like
something off Arovane's excellent Tides while a fragile lullaby plays on a
harp. Yes, a harp. In anyone else's hands, that would send this straight into
the eight circle of Windham Hill perdition, but before it can get cloying, a
back-masked guitar fades into the middle register and turns the whole thing
into an almost heart-wrenching chorale.

It's worth mentioning at this point that several times on this album, I've
actually caught myself holding my breath. No, really. It's that good.

"Spirit Fingers" comes through like a whirling dervish, propelled by a
double-speed guitar part that wouldn't sound out of place on a Takemura record,

especially when it's overlaid with a frantic gamelan pattern. Just when the
track starts to sound like an anomaly, a slowly picked acoustic guitar pulls
the reins back. Not really a standout track, but by no means bad, either.

"Unspoken" lopes along like a Dj Shadow tune with guitar feedback floating over
the mix. The piano part enters, and after about a minute, you realize that the
melody is from Tori Amos' "Winter." With tamborines. This is where
description falls short, because as awful as that may sound on paper, the whole
thing actually works. It's remniscient of µ-ziq's appropriation of "Your
Ghost", except where that track simply used the original as an adornment, Four
Tet uses it as a single motif among many. After the first verse, the piano
part is replaced by a jazz progression with trumpets and cello, and when it
reappears, it's bolstered by a larger and different arrangement. I was really
surprised by the mastery of structure and development here, since the track as
a whole takes over nine minutes and never once lost my interest.

"As Serious as Your Life" sounds like like something out of some forgotten
'70's police show, and while it's hardly the most substantial thing here, it's
certainly clever and alot of fun in the same way "Everything's Allright" was on
the last record.

"And They All Look Broken Hearted" reminds me of a more relaxed Amon Tobin,
with a nimble drum kit buoyed by a slow bassline. The whole thing boils away
at a slow tempo, never really picking up, but never letting down either. This
is mostly a track about atmosphere, and it works well in that respect.

"Slow Jam" is the closer, and it may be the best thing Hebden's ever done.
Ringing guitars enter over a slow beat, and I'm reminded of every rock song
that ever rode itself out on a slow, glorious three-minute coda. The guitars
and strings ride an aching chord progression that builds and recedes in a
series of subtle climaxes while scattered vocal samples ricochet through the
mix. There's almost a melody in vocals, but it never quite coalesces, which is
fine, because this is more about stroke and gesture than anything literal.
Some part of me wants the voices to come in, but I know that, if they did, the
whole delicate illusion would be ruined. The track feels like like the credits
music for some alternate-universe John Hughes movie, and it doesn't matter that
it doesn't really go anywhere, because you're just happy to be held, suspended,
while the landscape drops away below.

Absolutely essential.

I normally don't bother with reviews (who reads em anyways, besides you) but his bothered me. I have listened to four tet for a while, thinking their remixes of beth orton and radiohead are some of my favs. I have also listened to tortoise for a while too. While they are similar to the unlistened ear he seems to have missed the point about four tet altogether.While Four tet is jazzy-ish, tortoise is jazzy-ful, and four tet have much more groundbreaking electronica credit, which is a hard thing to accomplish this day full of electrosounds. Rounds should probably get a five star it really is incredible, full of emotion and genius. Not to make light of tortoise, they are in my heavy rotation just four tet, but four tet is a different ocean, very swimmable and very unique.

As mentioned before, there is an overall
moelancholic feel to the album, but at the
same time, there are beautiful swells,
plucked guitar lines and crisp - head
nodding beats. The beats are large, the
snares are crispy - and the production is
out of control. At times glitchy - yet
totally in synch. Experimental yet
accessable. This album is delicious.

A very pleasant suprise, and one of the
more captivating CD's I've listened to
of late. I saw the deal amazon.com has, this
and prefuse 73's One Word Extinguisher.
If that deal is still on and you don't
have either of these CD's, do your ears
a favor and order them.

Excellent.

This album uses extensive samples of traditional/folk music and jazz, creating an intimate sound that swings back and forth between lush and sparse. There is a lot of abstraction and a lot of meandering, testing the patience of those looking for some sort of dramatic resolution in everything they hear. I find even these moments rewarding (they are reminiscent Boards of Canada). However, this does not describe the entire cd. Some tracks even qualify as "funky". I actually like these the least, but these songs ("She Moves She" and "As Serious as Your Life") have rated high on the include-on-a-magazine-compilation-o-meter, so draw your own conclusion. I highly recommend the very first track, "Hands", something I was totally unprepared for when i bought this cd. In addition, if you like the abstraction present here, definitely check out "Happiness" by Fridge.

The time has finally arrived for the return of Four Tet's solo member, Kieran Hebden. It's been two long years since the release of his second album, Pause, and since then a number of accolades have been thrown his way for the creative laptop explorations he's come to be known for. With plenty of talent, and a soon-to-be guest spot as the opening act for Radiohead, one could justifiably draw the conclusion that Hebden has clearly impressed all the right people. If you've heard any of his music, you know why he's been getting so much respect over the last several years. His first two albums, Dialogue and Pause, epitomize the idea that quality, original music can be made with nothing more than good software and a computer. What sets Hebden apart from the others in the industry is that only a few are capable of keeping things as fresh as he does with the same amount of tools. With that in mind, it's extremely awe-inspiring to hear the production level of this album considering the type of equipment that was used.

The scope of Four Tet records may remain the same, but there's no doubt in my mind that Hebden keeps getting better with each release. Four Tet's latest effort proves that he is growing artistically, and is continuing to elaborate on the marriage of synthetic and organic sounds. The samples used on Rounds are now more influenced by jazz than folk, and are the key components to discussing this album. The manipulated tape loops and samples of children's voices are just as prevalent here as they have been in the past. Obviously, Hebden is now more concerned by conveying a certain mood, rather than seeing how many times a hundred samples can be manipulated. This is the heart of the album, and in the end, makes for a much superior sound.

Take the intro track, "Hands," for example. Hebden's maturity level is at its height here. It begins with the simple sound of a heartbeat that is gently taken over by the soothing sounds of a jazz ensemble. Have no fear, though, because just behind all this is one of the hardest beats I've heard him use in quite some time. I would also venture to say it's his best track yet. One of the elements that remain the same on Rounds is the use of the harp. The harp has been an incessant part of Hebden's repertoire, as it adds to the element of serenity that makes Four Tet albums so enjoyable. "As Serious as Your Life" is a bit of a departure from the rest of the album; it's not as sophisticated as the rest of the songs. The last song, "Slow Jam" gives a warm nod to his other band, Fridge. With the main focus being set on the guitar, and a gentle sample of baby's voices, it wouldn't be much of a stretch to say that this song wouldn't be out of place on their last album, Happiness.

One could argue that this album has been made a hundred times, but the difference here is that the samples make the album. Structurally, yes, it has been made before, but somehow Hebden continues to dig up and create some of the best samples around. The beats and samples never appear to sound forced. It's this seamless marriage that helps pull everything together for Rounds.

If you've appreciated any of Four Tet's albums in the past, have no fear that you will be more than happy with the new album. If Hebden is just getting started (and getting better with each album), who knows what's in store for us in the future. All I can say is that he remains consistent, and Rounds will more than likely be the album that moves him a little closer to mainstream fans. Once Radiohead has pulled you in, there's no turning back as to how far you can go. For Hebden, the real challenge will be to show how many times he can improve on the same ideas. Now if you'll excuse me, I'm going to to go listen to that incredible first song again.

Rounds is a work of sonic bricolage. Unlike lesser artists, Four Tet manages to combine a jumble of sounds into beautifully-interlocking, natural, immediately comprehensible music, without any kitsch or clubby insipidness. Rounds is amazing. Buy it.

I'm blown away! This album takes the deep wounds left by the first one and infects them even more. I've got a rash this stuff is so good. True, jumping into this music from listening to popular music, or even Pause (which was more mainstream than this) is a bit like jumping off a cliff, but for those of you who are ready for some music that has not been done before, do not hesitate to pick this up.

I always thought "no more maskitos" and "everything is alright" were pretty generic from the first cd compared to the other stuff on it. (Not that I didn't like them, everything is alright is the reason I bought the cd! :p ) This stuff is hardcore, but still manages to keep an unmistakeable beat unlike to rococo rot. This probably one of the most consistant cds I've bought in a while.

I get to see four tet this sunday in philly!!

- Seth

Hmm, not sure if this will get posted, but:

I really enjoyed this album when I first came across it. I was into very close listening at the time, and was rewarded for my efforts. "And they all look broken hearted" is particularly rewarding for someone paying too much attention, the melodies of the strings mesh and slip in and out of synch with some jazzy improvised sounding drums. Still sends shivers down my spine when I listen to it under the influence.

On a related note, many songs on this album have turned out to be absolutely outstanding as background music for an indulgently long/sensual session of love making. Particularly hands, she moves she, my angel rocks back and forth, unspoken, and and they all look broken hearted. the music has excellent rhythms, is not too intense/grating, and flows through tantalizing progressions with ease. Incidentally it's all quite beautiful as well.

With the exception of maybe "Great Day" off the madvillain remixes, this is four tet at his greatest.

The first I'd heard of Four Tet was his incredible and very sensual remix of Kings of Convenience's song "The Weight of my Words" from their VERSUS album of remixes, and I had heard another from the PAUSE album.

Every song on ROUNDS is organic and melancholy. The album reminds me a little of Bjork's VESPERTINE or Zero 7 except with an Asian feel. Several of the songs seem to overlay a Japanese mandolin such as on "She moves she." The song starts off with a great train-track beat which almost deceives you into thinking it's a dance song, but the quiet mood of the song quickly takes over, and much like the rest of the album, it turns into a song to be enjoyed with headphones. The song is calming but soon the ease is interrupted by distorted cuts which detract from the previous mood but aren't forced.

"My angel rocks back and forth" seems a little more industrial, but not like NIN; it too takes a turn toward quiet crystalline keyboard sounds, like Bjork's "Pagan Poetry" from her VESPERTINE album. "And they all look broken hearted" starts with a drum solo fighting through smoky air to be heard, but the Asian melody comes through and then fades away behind the smoke as well. "Unspoken" starts off as dynamic as the manic "Spirit Fingers" with a constant thumping beat, but even that slows down to let a sad piano melody reach the front, and at over nine minutes, the song could either lull you to sleep or make you cry.

The sadness of the album is the main feature that captures me. The music seems nostalgic almost and reminiscent, perhaps because of its folksy touches, and not folksy, say, like Cat Power, but with much the same sadness and melancholy. Song titles like "And they all look broken hearted" continue the theme.

I'm not sure who this album is for, but since I love a song that can make me cry, the entire album is satisfying for me. The album is perfect inspiration for writing love letters that you'll never send. The title of the last song really exemplifies the album, but not "Slow Jam" in the R&B sense, but in the sense that you can put on your headphones and slowly be taken away, maybe even a younger, more innocent state like the babytoy sound in "Slow Jam" comes to remind you of.

this album is pure genius. it definitely has a different feel from all his other albums but that could be good or it could be bad. it just depends. i personally loved it. every track is very well done and put together. this one didnt stop playing in my house for weeks.

i love the layers of melodies with the noise (noise itself and drum noise) that he does:

Hands, She Moves She, Unspoken, And They All Looked Broken Hearted (for example)are a lot like this. such a good beautiful album i recommend it to all who love music. definitely one of my favorite albums of all time.

i think as an overall album its my favorite Four Tet album. the only song that i am not the biggest fan of is Spirit Fingers. but that being said, its still a decent song.