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NEON+HIGH FOOD present:
FOUR TET - http://myspace.com/fourtetkieranhebden
JON HOPKINS - http://myspace.com/jonhopkins
FACEBOOK : http://www.facebook.com/event.php?e...142098792475297
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FOUR TET
http://myspace.com/fourtetkieranhebden
Four Tet is the name used by Kieran Hebden (born 1977 in Putney, London, UK) for his experimental electronic music-oriented solo efforts, to differentiate from his work with post-rock band Fridge.
Hebden’s solo work typically utilises samples lifted from various sources including hip-hop, electronica, techno, jazz, and folk mixed with his own guitar playing. Four Tet shares some stylistic similarities with other musicians, such as Prefuse 73, who use computer editing techniques that give the music a staccato, cut-up feel. Hebden’s music is notable for its rich, organic sounds and harmonious melodies as well as for eschewing the traditional pop-song format in favour of a more abstract approach.
Kieran Hebden began releasing material as Four Tet in 1998 with the 36 minute and 25 second single “Thirtysixtwentyfive” on Trevor Jackson’s Output Recordings label. Later that year, he released a second single, the jazz-influenced “Misnomer”. 1999’s “Dialogue”, again on Output, was Four Tet’s first full-length album release and fused hip-hop drum lines with dissonant jazz samples. This was followed by the double A-side single “Glasshead”/”Calamine”, which was to be Four Tet’s last release on Output.
JON HOPKINS
http://myspace.com/jonhopkins
Jon Hopkins is a musical shapeshifter: a composer, pianist and a self-taught studio wizard. He makes big, bold electronic music using walls of synths, twinkling melodies and amorphous bass rumbles. As such his two albums have seen him labelled by the likes of ambient patriarch Brian Eno as an electronic innovator while an impressive sweep of artists from Herbie Hanto David Holmes, not to mention ballet choreographer Wayne McGregor, lo-fi folkster King Creosote and musical bluebloods Coldplay, have all called upon the 28-year-old Londoner’s handiwork as a producer and composer.
Which goes some way to explain why his new album Insides is his first in four years. Hopkins’s aesthetic is perpetually intriguing. He transcends genres, melding digital coldness with subtle, bucolic textures; veering from skewed elegance to strange, unsettling depths. Insides’ artfully constructed, unparalleled palette of rhythmic loops and treated piano can be partly explained by Hopkins’ unusual adolescence; he was a child piano prodigy before discovering the bleeps and beeps of dance music. In his west London bedroom he balanced a teen obsession with acid house, early hardcore and grunge alongside weekend piano tutorials at the Royal College of Music. At 16 he flitted between the twilight stoner world of drum‘n’bass pirate radio and German label Recycle or Die’s hypnotic electronica, and the classical discipline of playing a Ravel piano concerto.
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