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Rate It! Avg: 4.0 (119 ratings)
Pause album cover
Glue of the World
Twenty Three
Harmony One
Leila Came Around and We Watched a Video
Everything Is Alright
No More Mosquitoes
You Could Ruin My Day
Hilarious Movie of the 90's
Album Information

Total Tracks: 11   Total Length: 43:01

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I dont like 5 stars


But this guy is a genius. I have all of Four Tet's LPs. This is second only to Rounds. Beeyautiful! Pop this on the stereo and play Shadow of the Colossus on PS2. It will change the way you view storytelling and both pieces of media. Oh, and certain "inebriates" can help the experience. Regardless of your proclivity to illegal drug use, this is really nice melody mixed with very muscular drums.

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Saw him right after this came out. Not a great live show, but put this stuff in your headphones on a rainy day and experience the looooove.

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On his second full-length as Four Tet, producer/mixologist/computer kid Kieran Hebden further f*cks with the notion that turntablism and electronica are essentially “nothing more than” computer music. While it’s true that all the rhythms, melodies, and harmonies here are collaged samples combined with turntable wizardry, uninformed listeners would be hard-pressed to find anything but a few drum loops that sound as if they were composed and recorded by a band. For starters, on his opener, “Glue of the World,” acoustic guitars, zithers, harps, and string basses wander around a minor-key riff that is augmented by a slip ‘n’ slide hip-hop rhythm with a sharp, in-your-face, drum-’n'-no-bass interlude. The track is a weave; it blends new age, acoustic jazz, and flamenco music in a golden braid that is heavenly. On “Twenty Three,” steel drums, bells, and African and Balinese rhythm instruments open the way for an electric piano and acoustic guitar riff aided by a set of congas and bongos to come charging in DJ Shadow style. Just as the West African folk music theme settles, Hebden kicks it with hip-hop and a front line of trumpets, playing a long, slow, languid melody line. It’s also beautiful that there are small interludes of found sounds, like typewriter keys re-sequenced against an electric piano to create nothing but an ambient rhythm track that sounds as much like somebody shuffling things around on a desk as anything else — until you pay attention. On tracks like “Untangle,” where the percussion sounds a little less organic, Hebden demonstrates with flashes and cross-fades how rhythms from all over the world can be unified by the turntablist’s skill — or perhaps by musicians themselves willing to play together, which would be ideal. Four Tet’s Pause offers more proof that DJ culture still has plenty to offer, and that Keiran Hebden is just getting started in his experimentation with transcultural electronica. Organic as dirt, and full of an acid-head’s sense of space, this one’s a winner from start to finish. – Thom Jurek

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