Quite a highly anticipated album among the scene. 4T Thieves follows through on his growing discography from his previous releases on Kahvi, Mahorka, and Rednetic. You should not miss this. There is no excuse.
This is dream music and an unquestionable masterpiece
Cities of the Future begins with the ambient sounds of pedestrians, of which I imagine can only be the location of a subterranean rail track. White noise then mimics the rhythmic beat of a carriage over tracks. A beat pursues, then a ghostly chord progression. The aesthetics of this pattern, this picture, reveals itself so discreetly that you barely notice change. What started of as an ambient recording of a place and location is now, if ears choose to do so, the listening experience of any passenger or pedestrian. Look around you. Do you see anyone wearing headphones?
The track “The Windy City” gives the impression of observing such natural power, yet being sheltered from it. Very dramatic music. A reminder of one’s insecurities from the elements. After this brief and reflective pause of musical thought, we are back, head nodding to the beat of “Canyon Voices.” A slightly slower pace than the opening track, but now giving you a sense of the journey you’re undertaking. The opener gives an eerie impression that you don’t quite know what’s in store for you. Now, In finding my footings and settling into the groove, I am confident that this journey will be a memorable one.
“Greens and Blues and Yellows,” again another greeting in musical mantra form. The structural flow of this album synchronises my internal feelings. So effective are these tones that halfway through “Shimmering Sand” (track 9) I’m drifting off in a meditative state. The reprise toward the end of this track has a beautiful cinematic effect on my mind. This is dream music and an unquestionable masterpiece.
Quite a highly anticipated album among the scene. 4T Thieves follows through on his growing discography from his previous releases on Kahvi, Mahorka, and Rednetic. You should not miss this. There is no excuse.
Thank you
On a personal note. Thank you to all those actively making music during these times. It really helps, being holed up to remember how to imagine and dream with music. It reminds me why I’ve always loved music since being a child. It sets a scene. It promotes ideas. It can bring about optimism (and its opposite) and cultural change. It can heal, it tells us where we went wrong in the past and how to go forward into the future. Hauntology is the purest form of altruism—and also happens to be the title of his previous release.
Electronic music seems to have this attraction towards transportation methods. From Kraftwerk with “Autobahn” to Boards of Canada with “Trans Canadian Highway.” The examples are too large to list. Even one of the earliest electronic examples played with the ultimate form of travel. Ron Grainer and Delia Derbyshire’s time travelling Dr. Who theme. I guess it was just a natural realisation for people to assume that electronic music was futuristic.
There is evidence to suggest that the Greeks knew of electrical charge some 2600 years ago, yet we only just began to harness its power 260 years ago. Then we started to make music with the stuff.
So. Here we are, and once again an electronic musician envisions a route toward a future. “Have mercy, I cry city.” Your choky chugging tubes are no more. Welcome to Cities of the Future.
Cities of the Future is available on Rednetic July 1, 2020.
