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Four Tet

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Eat Your Own Ears
2005-06-05 07:30:00

Hot Trees
2004-02-26 19:30:00

profiles

an interview with kieran hebden

Kieran Hebden has been making a name for himself since his teens, both through the music he's made with post-rock band Fridge of which he's a member and through his solo work as Four Tet among other guises. After a couple of successful singles ('Misnomer' and 'Thirtysixtwentyfive') Four Tet released his first debut album 'Dialogue' on Output in 1999. Released when he was just 21 - it confirmed Hebden's emergence as a significant new talent, and at that one who was unafraid to toy with noise or stretch his own boundaries - with the result that the album is Output's best selling release to date. With the release of his second solo album 'Pause' on Domino Recordings Susanna Glaser thought it time to thoroughly investigate what makes a truly multi-faceted musician like Kieran tick


susanna glaser: When you and your Fridge mates first came on the scene there was a lot of excitement. Has that put pressure on you constantly bring that kind of excitement about subsequently?

Kieran: "I'm just like the luckiest guy ever, basically. It's not like I sell loads of records or anything. It's just nice that there seems to be people who want to support what I'm doing and let me get on with the ideas I've got. Every other year I think 'God, I'm still doing this!'. It's just the nicest feeling ever that people are constantly interested. I'm still working on music and I do feel that there has been progression that I've made. The stuff I'm doing at the moment is different, so it's not the same buzz that existed, it's a new one in some ways.

"I don't really worry about it [the pressure]. When I was making this new record there were times when I thought there's obviously going to be more exposure for this one. Also I didn't release anything last year, I'd had a break. So I was working on something I knew at the time people would judge me on and I was quite careful. Some people were expecting a garage-like record and they've been surprised and I'm quite pleased about that. The album has come and it's not the obvious thing. That's good, it allows me to keep things a bit fresh, keep changing. If you get intimidated by these things and feel under pressure you start messing up, really. You've got to carry on being flippant about it."

susanna glaser: What were you up to, then, last year

Kieran: "This album took four or five months, I was doing it in my spare time, and then recording Fridge record (which wasn't going so well, at the time we had too many tracks all over the place), then the Badly Drawn Boy job came along, which was the perfect chance to have a break from doing what we were doing but still keep active musically. We came back from that after six months and we were a better band, much tighter, and finished off the record really easily. Last year I was busy making music, this year's been kind of busy promoting it and getting it out there, which is just as big a task as making it."

susanna glaser: You've been keeping busy then - and I hear your label Domino's been keeping you busy too...

Kieran: It's mad and hard work but it's also what I really really want. This is like the sixth album I've put out and I think I'd be feeling disappointed if I wasn't making and effort to expand on it and reach other audiences...So one of the reasons I went to Domino, I said I really want a big push in Europe, I've never had my releases distributed in those countries and that's something I really want and could they help me. And they said yes. The label is actually perfect for me, it's better than other label experiences I've had so far because they're a really good team of people but everyone's really dedicated as well, they can't afford to not work well on a release so everyone who's working on it seems really dedicated and are putting loads of effort into it and I really appreciate that. And the last thing I'd want to do is let them down. They need me to do this promotion to make the record work and I want the record to work so I'm working like a complete nutter at the moment. But it's only for a few months. It's what I want to do and I don't want to let myself down either. I did 23 interviews last week and probably roughly the same this week..."

susanna glaser: You must find that quite exhausting?

Kieran "It can get really intense talking about yourself all the time. You know, especially in Europe where music journalism is a lot more serious than music journalism here in general. People there were coming out with really intense questions about my thought processes and creative process and it really gets you thinking. I'd do like eight interviews in a day and by the end you're thinking... One interview and another instantly after. You'll start thinking you're repeating yourself. It's hard to keep track of it all. But you just get on with it. Most jobs have repetition in them, it's really not the worst thing sitting there and people ask me questions..."

susanna glaser: You're amazingly prodigious yet you also spend much of your time watching telly and relaxing - do you think there is a theory to this - that one can only be creative if one knows how to switch off as well?

Kieran: "I guess I work hard without really realising. It doesn't really feel like work a lot of the stuff I do. And also I think the things I enthuse about to other people that I've done during the day are the much more mundane things. If somebody phones me up and asks me what have I been doing today I'll be like 'Oh well I made this lunch and watched this on TV and then I brushed my teeth' whereas the truth of the matter is all of that will have gone on, but at the same time I'll have done a remix, answered 10 phonecalls to these people and sent six emails. I'm never bored. And I never make a conscious decision that now I'm going to do nothing. I've got this nice situation where I'm completely my own manager of my time. It's weird for other people. They're used to going to work and they see me and they'll be like out in the evening and saying 'Shit I've got to get up for work'. I'll be getting up at 1pm the next day. If I wake up and I'm not in the mood I can just go shopping. It totally depends on exactly how I feel. It's only during short periods like this when I've got a committment to anyone else. Most of the time I'm doing things on my own. But I don't make a conscious decision to do nothing."

susanna glaser: Record shopping - you're out there listening to every kind of sound - how important is it to you?

Kieran: "It's more therapeutic. It's retail therapy - same as any shopping. It's nice to go and have an afternoon out, you make friends with the people behind the counter, who come out with some nice new music. It's the pleasure of an outing andthen you come home and you have exciting new music as well. I never treat record shopping as 'Aw I've got to go out and do my record shopping - on my list of work like things to do!'. The whole boundary of what's work and what's not is not something I really consider very much. I'm lucky - I can do what I want and it counts as work in some ways. I often think I don't do anything with myself and then I speak to my mum and she's like, 'Calm down, you're working so hard Kieran'. It's essential to what I do, buying records, I spend a huge percentage of my pocket money on records. I bought very nice records in Milan recently. I had two hours to go before the plane took off and I got the record company people to find out the best second hand shop for me. I went and found some really amazing records, so it was worth it!"

susanna glaser: What's given you the most sense of achievement over the last year - the album or something else?

Kieran: "It's hard, everything I do is so varied. There are key moments I suppose. There's a moment last year which I'll never forget in my whole life. I was playing with Badly Drawn Boy in France and we were the first band to go on at night - the first band to go on with a big light show. The tour manager and everybody were waiting in the aisles. The tour manager pushed us out on stage 'get out there' and we walk on stage and all of a sudden there's 10,000 people in front of us all cheering! I was like, 'oh my God!'. I've never seen anything like it. And I was playing the first chord! I remember the sound of it coming through all the speakers at once. And also seeing 10,000 people's heads turn outside, as they realised the band was about to go on. Then, in the middle of the gig, Damon wants to play Bruce Springsteen's 'Born In The USA'. We'd never played it at a gig before, but we'd played it in practice.

"And in the middle of doing 'Born In The USA', he'd climbed up the speakerstack on stage and he was standing on the speakerstack waving a bandana of the American flag over the audience while I was standing in the middle of the stage with some light on me playing the main riff from the track and there were all these french people in front of us clapping along. And they were singing the chorus and I had a total moment. I totally lost it, maybe for only half a second or something. I was like, 'Oh my God, this is the weirdest moment in my life ever, totally unexpected! Here I am, playing Bruce Springsteen on guitar with 10,000 French people singing along!'. And if anyone had ever told me I'd be doing that in my life before, I would have thought it was the most ridiculous thing. And for that moment I lost it. The evening after I thought it was one of those defining times in your life you'll remember for ever and tell your kids about. It was too far out. When I talk about it, I think, I can't have done that, it's the most ridiculous thing ever. So that was a big point last year.

"At the same time finishing this record - I just got the finished copy back the other day. This has been so exciting - the response and the reactions have been overwhelmingly good. That's a bit mad as you get more and more numbed by it as your head gets bigger and bigger. I've had a month of people phoning me and saying 'Kieran we really love your record'... Especially doing interviews and these guys would sit down and 'I just want to say I really love your record'. One guy said 'I was listening to your record last night while I was with my girlfriend. And we had it on all night. It's the most perfect record for ages for these intimate moments!' I was like, 'Oh my God!'. I couldn't believe he was telling me this but also it seemed really important that he was going to tell me this. And all that is so endlessly flattering. Really, really quite a mad experience I suppose. That's the big deal going on with me at the moment.

susanna glaser: What else have you been up to?

Kieran: "We came back from the Badly Drawn Boy tour and we finished recording the Fridge record. We'd been recording in this studio doing all the live parts. I hate studios really. I can never relax. You've got an engineer watching you, working to set hours. The mixing desk is in one room while one person plays by themselves in this isolated booth. It's all very impersonal. So when we finished there, Sam, the drummer in Fridge, his parents went on holiday, so we moved all our equipment into their house for two weeks and completely disconnected ourselves from the world and all three of us lived in this house together and finished the record. And we'd be there and Sam would cook these huge luxurious meals. I remember one night he did this full roast dinner. I was really enjoying this homely lifestyle, almost like The Waltons or something.

But then - we'd do loads of recording in the middle of the night - and this is going to sound really silly but there was quite a nice moment where we're all sitting there and were really tired and I think it was Sam who said 'Let's try and do one more track' and we all picked up an instrument and turned all the lights off in the room. This is like 4 o'clock in the morning, Adem's girlfriend was asleep in Sam's bedroom and everyone was really quiet and whispering. We started the tapes rolling and recorded this track in five minutes and left it exactly as it was. It's a track on the new Fridge album - called Tone Guitar And Drum or something - and it's this one moment, 4 o'clock in the morning. I hear it now and it sounds exactly like that moment. It's very much about me, Adem and Sam I suppose."

susanna glaser: When will you be bringing out Happiness, the new Fridge album? Kieran: "We're just finishing off the mastering and the artwork etc at the moment. I'm just starting a label [text records] and learning about co-ordinating releases and stuff and we've got a deal for it in America and we're trying to sort out all the European distribution. It's all due at the moment, end of September, early October. It's all done and ready to go."

susanna glaser: What made you want to set up Text Records?

Kieran: "I've almost always wanted to start a label. It's one of things that people who go record shopping and record collecting want to do...! I get given loads and loads of demos all the time and people send me stuff and 'can I pass it on?' and 'have I any ideas?'. At the beginning of this year I got this one demo from Canada from a guy called Koushik which I heard and I thought 'Oh my God, this is the best demo I've ever ever heard. What on earth am I going to do with it?'. I was sitting there holding it thinking WHO can I play this to, it's so good. At the same time we'd just finished the Fridge record and were looking for a label to put it out on. I thought this is it, perfect chance to start my own label. Having the Fridge album and starting a label is God's gift kind of because the band's quite established so there's been loads of interest in the label and stuff straight away. With Koshek I'm going to do a couple of singles and an album as well. Hopefully."

susanna glaser: "When you make music how do you go about it and how does it tend to come together?"

Kieran: "This is one of the most relaxed records I've ever made. Because it was done very much in my spare time, often late at night, I'd sit down about 11 o'clock and maybe not stop till 3 or 4 in the morning. But I did it all at home and I'd be sitting there in my pyjamas and having breakfast but at the same time as eating my breakfast I'd be making my track and the TV would be on in the background.

I never set aside time to do it, I wanted it to go alonside my everyday life. Because of that, it's probably the most personal record I've ever made. I was definitely making music that had a more personal atmosphere to it, music that I wanted to hear at that specific time, especially if I was working really late at night or something. So tracks were coming together in a way where I had quite a clear vision for the whole idea and thought behind the album and the main structure of a track would come together very quickly - the melody or the rhythm - and I'd leave those sounds running on my computer while I pottered around doing my thing and every few minutes I'd add another sound or detail or decoration.

"Some of my favourite tracks on the album might have come together in the space of an hour or something. One called Tangle which has got almost nothing going on except for this harp sound for example. I remember doing that track and I remember sitting there and doing it quite quickly and sitting in my room for an hour just listening to it, enjoying it very much. It was like making a piece of music that I really wanted to hear at that time to relax or whatever, or illustrate. Often late at night I play a few records before going to bed or whatever - things I really feel like listening to at the end of the day - and this was a situation where I was making my own music to fit a space where I wanted it.

"There's also the technical side to the record which was going on as well. The basic idea for the record was I wanted to keep the atmosphere of the first record but be a lot more adventurous sonically with the new one, be a bit more bold with sounds and stuff I used. I was mainly inspired by stuff I was hearing in American R'n'B records, garage records and stuff. Things would come out like Brandy xxx record with a harpsichord. Or Whitney Houston with a thumb piano. I was hearing producers who were making overtly pop records with the courage and guts or idea to try and pull instruments that weren't traditionally used in that music into this new context and not scare people off and they were still big hits, people understood it. That made me think, I should be a bit more daring with the sorts of sound I use and not stick to these sort of rigid traditions which lots of bands are stuck in. A lot of people think right you've got your drums and your bass and your guitar - maybe add a keyboard now. I was thinking more like, I've got my banjo, I've got my drums, I've got my kazoo, let's have three saxophones now. I didn't want to be scared of that sort of idea.

That got me thinking about what kinds of sounds I was going to use and I was getting interested in English folk music at the time and mainly inspired by American music, Jim O'Rourke - he was pulling in influences from someone like John Fahey, an old American folk guitarist and putting it into context. I was working with Badly Drawn Boy of course and there was a documentary on TV about Bert Jansch and we were both talking about that. Bert Jansch was playing Pentangles so I started picking up some of those records. A friend of mine called Jason was really into this acid funk stuff he was saying check this out and this out.

"So I started listening to loads of these records getting intrigued by the whole thing. But at the same time as I was listening to all these folk records I was realising that I really loved a lot of the sounds they were using, but couldn't get with the tracks themselves. They would always be about sailing and sea and farming and this kind of stuff with like wiggly wiggly melodies on top. The whole time I was thinking, imagine if you had folk instruments like this but playing more groovebased music. And once I had that kind of idea thinking it became a blueprint behind the whole album. And then I'd start working on it and I'd think it's an idea that's very wrapped up in retro music, all the sounds are very much coming from late 60s and early 70s. So then there was a whole other level. It's really important for the music that I make that it's got contemporary, cutting edge, forward looking ideas - especially in the production and stuff - so I wanted to add an undercurrent to the whole record of electronic music.

"I'm listening to a lot of electronic music all the time. As well as listening to all this folk music I was listening to To Rococo Rot, Wookie, Thomas Brinckman, Radio Akida. But I didn't want to be so blatant as to whack abig sort of two step drums on top of it or anything, I wanted it to be more like the first time you listened to it it washed over you - it could sound almost like an old record. But the second time you listened to it you would realise there was an undercurrent of overtly electronic production and processes had gone on to create everything. It's in fact the most aggressively electronic album I've ever made I think in terms of how it was all put together and done. I got more interested in sound design when I was doing it because I'd be listening to it after hearing bands like Matmos or Herbert. They'll take a very small sound and then mess with that sound and process it and things and create whole new instruments out of it. I got interested in that, I wanted to try and use that in my music."

susanna glaser: "Can you pick out anything specific which demonstrates this on the record?

Kieran: "Yeah. For instance, the first track opens with this guitar line. And you listen to it and it totally evokes the mood of somebody sitting there with an acoustic guitar and playing it. But if you listen to it closely, you realise it's actually a guitar that could never have been played by a human and it's all been messed with and there are weird little buzzy noises, messed with and brought out, reversed and things. That sort of manipulation of sound, I wanted to retain the mood of the instrument but affect it in a way that made your mind think it was a new record.

"At the same time, a lot of instruments which appear to be on the album as certain instruments aren't. They're other sounds that have been messed with. This track Untangle on there has got a harp on it and loads of drums but aside from the drums every single sound on the track is all made from just the one bit of harp which plays the main melody. You know I'll take a sound and then slow it down filter it and mess with it and make basslines out of it. There's probably no bass on the whole album, all the bass parts are made out of slowed down other instruments and things. Everything that sounds like it's an obvious thing when you first hear it, if you listen to it more, they're not the things you assume as they've all been messed with in less obvious sorts of ways"

susanna glaser: No Mosquitoes - your future single in fact - is that the first time you've had used a vocal track?

Kieran "It's the first time I've used a vocal that's got actual words to it. I've used bits of vocal sounds all over the place and bits of people humming or screaming or singing notes. But this is the first time I've used anything that's actually got any lyrical content."

susanna glaser: So where did that chant come from?

Kieran: "I had a record of playground chants and songs. Most of it's Ring A Ring A Roses and stuff. But in the middle there was this kind of clapping game song - and in the middle there's this nice bit where a kid's singing 'No no no no more mosquitoes'. It's the most meaningless bit of drivel really!"

susanna glaser: "Did you manipulate that in any way?"

Kieran: "No, it's just looped. But the sound at the beginning of it is the sound of a real mosquito! It's really, really anal. There are sites on the internet where you can search for 'i need a sound of a wolf in the moonlight' and they've got it. Well I found a record of mosquito sounds, I was really chuffed with that. Yes! That's so perfect for the beginning of my track! It's a bit cheesy but I had to do it."

susanna glaser: Quite often your track titles seem quite abstract. But these ones seem a bit more personal - is there any truth in this observation?

Kieran: "Where I sit at my computer there's this little shelf which I keep my videos on. If I need a track title quite often I'll just grab one and read the blurb on the back. So 'Hilarious Movie Of The Nineties' is just a direct quote off the back of a video. It's called Empire Records. It's this great teen romance about all these kids who work in a record shop and the record shop is going to close down and they've got to save it. Or 'Glue Of The World': There's this moment in the film where this guy gives this tape to his friend who works in the record shop and says - 'You've got to listen to this, this music's the glue of the world' - and that's the quote on the back of the video. So probably all the titles are from the back of just the one video!! '23' - It was my birthday that day. Lots of them are little snippets of lines from movies and stuff like that."

susanna glaser: speaking of which, will you do any film soundtracks do you think?

Kieran: "Yeah definitely. It's one of those things I've never done. I've had tracks licenced, but it's not like working to the actual film. Yeah, I want to give everything a little go. That's why I do all these little things."

susanna glaser: Your first release was 'Thirtysixtwentyfive'. But after that your tracks have reverted to a more usual length..

Kieran: "It was my first single and I wanted to have done something like that. It was so immense doing more of that was - it was like, well I've done that now. All the tracks on this record turned out really short which was surprising. It wasn't a conscious thing. It was just the way it was going. I don't really think about the length of the track when I start it. I try and work around a length which feels natural at the time."

susanna glaser: "Is it hard to stop? When do you know when a track is ready?

Kieran: "You kind of stop when you go through it and there aren't any bits that really grate. You'll be working on a track and then you'll get to a point and think I can't really hear this anymore and you'll go and do the washing up or something and you come back in the room and you'll listen to Radio 1 or something to clear your head and then play it again and suddenly it'll be obvious that this little bit where the track drops in feels totally wrong and uncomfortable and you'll sort that little problem out. You basically fiddle around with it until you sort your problems out. Sometimes you can get too wrapped up in messing with things. If I feel I've worked on something and it's captured a moment then I'll keep it. You get to learn that there's something really powerful when you work on music and maybe there'll be things that go wrong and you'll play duff notes - but if you manage to capture a moment or an emotion that happened in that space of time, it's such a powerful thing and hard to re-create that the best thing is to just let it be. When people hear it it's that that'll come through more. Like I was saying there were tracks here that were done really quickly that I'd never touch again because, if they were done so quickly and had such an effect on me at the time, it's got to mean something."

susanna glaser: Do you have a favourite track on the album?

Kieran: "My two favourite tracks I think are 'Tangle' and 'Everything Is Alright'. Those are two that, the way I put them together they're really simple and they happened quickly. And I'd work on them and sit back and think 'Yeah this is really what I want to hear right now'. I could really enjoy my own music."

susanna glaser: When you listen to 'Everything Is Alright' does feel like that?

Kieran: "That was how it was like for me at the time. I can't remember whether I was happy or sad that day. I remember I was doing it late at night and I probably had just been turned down by some pretty girl or something! (laughs) so I resorted to playing on my computer yet again...! But I remember that I did it and it all worked out really quickly. And it was one of the last tracks I made for the record and it was like 'Yes, this is just the track to tie it all up'. You get to a point on an album where, say, you're working towards 40 minutes of music and you've got 35 and the last five minutes has to bring it all together. A lot of people are saying that's their favourite track - noticing it as a standout. Must be something about it..."

susanna glaser: You recently did a proper live set...

Kieran: "People would say to me are you going to do a live thing? And I'd seen other people doing gigs with laptops and stuff and it excited me more than the bands I'd been to see recently. I thought well I get to do that whole band thing with Fridge. So I want, rather than bring out the more organic side of it, to bring out the more electronic undertones of the record. If you come to a gig it's just me and a computer and it's a lot more aggressively electronic sounding and a lot more messed with and processed and glitchy. More reminiscent of Pole and Kid606 and stuff like that rather than the, umm, Dubliners or the folksy stuff I was on about...

"I also want to avoid doing it in proper rock venues. People have been, especially promoters, only just getting their heads around electronic performers at the moment. People book me to DJ sometimes and are disappointed that I don't play my own stuff and it's all very different to what's on the record and I want it to be treated more like DJ type performance in a club environment. Where people come to hear my set on a proper live system and in a much more aggressive form in some ways."

susanna glaser: High brow vs low brow - snobbishness in the music industry carries on - but you manage to ignore it. You can be completely informed on the latest ECM releases yet you're into pop music. How do you manage to straddle the divide?

Kieran: "It's something I've been fighting against for a while. I think all that snobbishness, I hate it, it's not how I see music and I think it's a product of some of the most horrendous mistakes that have been made especially in terms of music journalism and stuff over the last 50 years. People sitting there saying that everything popular is bad and Matmos is serious music an Basement Jaxx is rubbish pop - it's a disaster. If you look back to early 70s. American music journalism in Rolling Stone or even Melody Maker and things, where these people would write Crosby Stills and Nash is the only good thing and this is the most relevant record right now and completely dismiss funk for instance. As in 'This is merely dance music for black people to get off to'. It's criminal. If you look back now and see the quantity of groundbreaking records which came out between say '68 and '72 it's terrifying. Something was going on during that period which was so immense that it's hard to understand now or document. And it was a product of so many things to do with political and social situations of people all over the world. It was an extremely creative period for music and the fact that there was this terrible snobbishness going on with the music press really meant that lots of people who were doing really great work at that time never really got the respect they deserved.

"Seeing someone like Alice Coltrane now - suddenly people are saying this was amazing new music. At the time the press told her she was a bloody idiot and riding on the back of John Coltrane's success and making rock music blah blah and never sold that many records. And yet her ideas were actually ahead of their time and so relevant. So when I hear people nowadays sitting there willing to casually make these same horrendous mistakes again that are a product of racism and class superiority and all these horrific things, it makes me sick, you know.

"I was doing interviews the other week and someone was asking me loads about some really wanky electronic record that I loved. And then I said I really liked the new Missy Elliot record and it's probably one of the best new records I've heard all year and they were laughing - 'it's very strange to hear you say this,what are you on about' - merely because this music is popular you're going to dismiss it. And to have the audacity to say something like that leaves you completely open to look like a fool in a few years' time because surely the truth of the matter is that the Missy Elliot record - the fact that it has got the combination of true exciting innovation musically and is immenseley popular is much more likely to influence the world and change the face of music than the only 10 copies released on CDR electronic record ever is.

"For me that's the absolute holy grail of music. If you can make futuristic cutting edge music at the same time as touching people and reaching an audience... The other week I went to see Tortoise one night and to the Basement Jaxx party the other night and some people were surprised to see me at the Basement Jaxx party. I find that a bit cold. I really admire the fact when music takes over on a completely animal level. Where you're standing in a room with big speakers in front of you and it just goes BANG and it just hits you and you don't care how it's made or its relevance in terms of other music, you just feel it, on a sexual life sort of level. It's a very instant sort of feeling and maybe a few minutes later it's gone and you know the record's now shit but that feeling's so powerful you can't underestimate it. It may only last just a minute but it's a such a good little minute it's worth taking note of. And it's at those moments it hits you that I may like this other music because I've studied it and read about it but it's never hit me in the way that music did the other time. And I've had so many moments.

"There was this documentary on Miles Davis the other week on TV and of course I watched the whole thing and as soon as it was finished I had to pull out all the records and put it all on really loud. 'Everything else is so shit, this is so perfect this music'. The combination of hearing him talk about it and everything just really reached me. But of course I came back to it an hour later and was like 'God I'm sick of this bloody Miles Davis jazz nonsense, let me hear a bit of R Kelly (laughs - 'erm probably not R Kelly actually') or something else. When music manages to have that intellectual side to it, where everyone can discuss it and touch you in that real animal way and Miles Davis is the perfect example of that - he would constantly have millions of conceptual ideas behind his music but was always intensely passionate as well and I completely admire that as well...

susanna glaser: Finally, then, what about garage - is that still an interest?

Kieran: "I've never done anything straight garage. My remix of Two Banks Of Four, Zed Bias played it on the Dreem Team show and I was like 'I'm garage'! That was kind of cool. I've never pursued dance music as much as I'd like to, and I don't feel it's something I'd not like to do, I just feel I haven't had the chance - I've got a whole pile of ideas I'd like to do stuck inside me and I'll get round to it sometime I suppose. I get more into that in the Summer I suppose so maybe this Summer I'll finally make some. When I was working on the Four Tet and the Fridge records, the directions they went in just felt right so I'll stick with that for now."

related to Four Tet

Darkroom, Ui, Silo, Colossamite, Pram, Homelife, Riow Arai, Jessamine, Low, Calla, Kammerflimmer Kollektief, 310, Sue Garner, Baby Mammoth, Blue States, Fridge, Skull, Sirconical, Trans Am, HIM, Richard Thomas, Midori vs Kikuchi, Labradford, Bergheim 34, Arab Strap, Tarwater, Rothko, Orso, Yo La Tengo, L'Altra, Hopper / S. Klossner, Kid Silver, Godspeed You Black Emperor!, John McEntire