%20Music%20Album%20Reviews.webp "Fridge - Happiness (Anniversary Edition) Music Album Reviews")
This reissue of a 2001 collection from Kieran Hebden's post-rock triplet catches the band's shift from live instrumental jams to the more multifaceted, exploratory style that he'd seek after as Four Tet.
Well before Four Tet climbed to the highest point of the current year's Coachella setup, Kieran Hebden was still most popular for his secondary school band: a delicately post-shaking triplet called Refrigerator, whose music was however obscure as their name seemed to be commonplace. Cooler began during the 1990s with Hebden on guitar, joined by Adem Ilhan on bass and Sam Jeffers on drums. By the initial Four Tet discharge, 1998's Thirtysixtwentyfive EP, Refrigerator previously had two collections added to their repertoire, and the two demonstrations would coincide until Hebden's performance vocation took off following his cutting edge Four Tet collection, 2003's Rounds. Another Ice chest collection followed, 2007's The Sun, so, all in all the band dove into deep rest.
Joy, delivered in 2001 and recently remastered and reissued, was Cooler's fourth studio collection. From a contemporary vantage point, it very well may be the band's most noteworthy work, for the manner in which it dovetails with Four Tet's earliest performance discharges. On 1999's EPH, Cooler actually seemed like three performers in a room — shrewdly capable artists in a chamber fixed with silk wraps and loaded up with esoteric machines, maybe, however it was still music you could envision being produced continuously by people. By Satisfaction, which followed two years after the fact, the band's music fell somewhere close to live-sounding instrumental jams ("Tone Guitar and Drum Clamor," "Drums Bass Sonics and Alters") that constructed layers of detail out of straightforward riffs, and strengthening studio tests ("Test and Snaps") — in some cases inside a similar melody. The collection's initial number, the obvious "Melodica and Trombone," outlines this well: The tune's most memorable half seems like gifted kids wasting time in the instrument storeroom, and the last part is a brazen surrounding presence that weavers low-hanging mists.
The similitudes with Four Tet's initial result — explicitly his initial three collections, Exchange, Interruption, and Rounds, delivered somewhere in the range of 1999 and 2003 — are plentiful. Those collections might have been crafted by an independent maker, yet a tune like Rounds' splendid "She Moves She" throbbed with the turbulent pulse of live execution, assisting Hebden with prevailing upon a fanbase that had little truck with electronic music's circles and redundancy. (Strangely, after a few collections that inclined vigorously on house and techno, Four Tet's latest performance single, "Three Drums," utilizes a live-ish sounding breakbeat that could never have felt awkward on Rounds.)
There are impressive likenesses between the two demonstrations, too: Both Bliss period Ice chest and mid Four Tet favor the sound of treated instruments — the guitars, pianos, melodicas, and xylophones that assisted give with ascending to the abhorred "folktronica" tag. Various tunes from Satisfaction, eminently the smudgy, reverb-weighty "Cut Up Piano and Xylophone," with a song as charming as a twist on a desert ice arena, and the shimmering "Drum Machines and Glockenspiel," might have fit cozily onto those initial three Four Tet collections, which is a commendation to their satisfying yet strange melodic charms.
The enormous distinction is that Four Tet's music is impeccably adjusted between spotless, negligible lines and fancy creation craftiness, while Joy is somewhat over-burden. "Drum Machines and Glockenspiel" veers off in its final part into a cerebral pain prompting wreck of squeaking recorders and grouped percussion that appears to continue perpetually, to some degree fixing the finely tuned balance of the melody's initial half. By all accounts not the only melody is excessively long: Four of the 10 tracks here (counting "Five Brushes," a reward cut initially given on the Japanese release of Joy) pass the nine-minute imprint. Regardless of whether spread is essential for the collection's appeal, these melodies might in any case stand a decent alter. The manner in which they chatter recommends there's no oppressive arm on Refrigerator's aggregate turner, as opposed to Four Tet's more centered performance work.
Joy shouldn't simply be viewed as a Four Tet assistant. On two of the collection's most grounded melodies — the slow, practically rustic guitar rock of "Long Singing" and the agonizing "Five Four Youngster Voice" (a tune that could nearly pass for Asphalt's more exploratory minutes) — Cooler sound most like a band and least like a Hebden solo task. Enthusiasts of Turtle, whose "Why We Battle" Hebden remembered for his 2004 Late Night Stories arrangement, will likewise track down a lot to tranquilly do the math to. In a year that has seen Kieran Hebden blunder to the highest point of the dance heap, restore shoegaze electronica with "Three Drums," and collaborate with guitar cosmonaut William Tyler for the agonizing "Dimness, Haziness," Satisfaction is a brief look back at the starting points of a splendidly unreasonable example of overcoming adversity: part history illustration, part after-school jam, every free appendage and unrestrained creativity.
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