The highlights rank among the best executed Four Tet tracks in this vein, and while not everything on this album is super memorable, all the tracks contribute to a really good balance that makes it an overall enjoyable LP.
A series of really pleasant highlights
Kieran Hebden has been popping everywhere in these past few years, with the last couple in particular being his most varied in terms of output; he’s now reached, under his Four Tet moniker that is, levels of popularity bigger than he’s ever had, and yet his music still manages to keep a pure and humble feel behind it.
Three is yet another example of this, a comeback that feels weird to call a comeback, as these past few years have been some of the most prolific in Four Tet’s career, maybe so much so that there wasn’t much time to squeeze in another personal solo LP. Time has now been found it seems, and Three continues in the same direction Hebden has been going since There Is Love in You, blending his typical melodic approach with some slick EDM grooves.
By comparison, Three falls into the more chilled out side of his recent output, alongside a record like Sixteen Oceans, but that does not mean this LP is lacking any kind of energy. What I ultimately like about this album is that it is far more consistent and cohesive than most of Hebden’s recent ones, which often felt sketched at parts or that they had way too many moments of ambience, ultimately diluting the meatier tracks. Three finds a great balance between the two, not in terms of numbers, rather in terms of style, as you find some rather full and satisfying hip hop inspired beats paired with a lot of atmospheric and occasionally psychedelic ambience.
This makes Three almost a callback to Hebden’s early work, but comparisons with an album like Rounds would be incorrect, as this LP is way more focused on rhythm and does not highlight Hebden’s melodic side as much.
There’s a series of really pleasant highlights on this album, as it’s always been the case for Four Tet records, in any of them there’s something that makes the album worth a listen; the best tracks on this LP aren’t even its singles, so even more of a reason to check it out. One example is the surprising “Skater,” a rock cut; it’s rock but clearly it’s not rocking it out in any fashion, that would be very much disruptive of the album’s whole mood, but it’s still a welcomed addition, as it fits perfectly into this tracklist, especially with how brightly it opens up after the quiet transition from “Daydream Repeat,” which instead is one of the proper jams of the record. “Skater” offers some fantastic pairing of textures, as the post-rock style guitar is turned into something magical thanks to the harmonization by the synthesizers, which are way more light and bright in tone.
It’s that tight of a jam ::
The following “31 Bloom” is also a highlight, the best executed groove of the album and a track that I may like so much because it really calls back to There Is Love in You, specifically to a track like “Sing,” thanks to its really bright and colorful glitchy textures. Hebden sneaks them into this sustained groove to create an interesting pairing, and even if the track doesn’t have any truly spectacular moments, this combination seriously is enough on its own to keep it going, it’s that tight of a jam.
The more laid back tracks are more abundant, with a couple also being really enjoyable. The closer is a highlight for sure, creating a really really massive soundscape that is so open yet so dense and full; as this warm beat keeps some vitality, the sound layering that’s going on on top is massive. There’s many layers of synths that get added, but it does help that each has their own recognizable timbre, some being your typical vast and soft ambient synths while others sticking out thanks to their flutey tones, all while noise keeps growing and growing.
“Loved,” the opener, is also a highlight among the downtempo tracks. It is so in true Four Tet fashion: straightforward but great sounding beat, a sweet and memorable lead melody and various bits that shake things up to keep the track fresh. If you’re familiar with Four Tet’s music, a track like this being this good really shouldn’t be a shocker.
Generally speaking, I really don’t have too much to say about any of these cuts though, and that may be for that reason. A lot of this LP is not really something you’ll be blown away if you’re a big Four Tet fan; it sure is one of his most enjoyable from front to back in recent times, but it’s also thanks to its consistency and not necessarily due to its fresh ideas. Obviously no music has to be innovative to be good, but there’s also times when you can sense a bit of restraint, in an almost dull fashion, and that’s generally how this LP leaves me.
Still, none of Three is to be thrown away. This is, indeed, one of the better Four Tet releases since his switch to a house-based approach. The highlights rank among the best executed Four Tet tracks in this vein, and while not everything on this album is super memorable, all the tracks contribute to a really good balance that makes it an overall enjoyable LP.
Three is available Text. [Bandcamp]
