Kieran Hebden (born 1977), best known by the stage name Four Tet, is an English musician. Hebden first came to prominence as a member of the band Fridge before establishing himself as a solo artist.

FM3 went into the VPRO studio for their Mort Aux Vaches session in August 2004, right in the middle of a six-month tour of Europe and North America. The session captured the last-ever performance of FM3 material developed for a project at the Louvre museum,
and was seen by the band as a definitive version of that particular live set. Following this MaV session, the material was retired and never performed again.
Founded in Beijing in 1999, FM3 pioneered avant-garde electronic music in China. Virant works closely with computer musician Zhang Jian, distilling the FM3 sound from traditional Chinese instruments and home-made electronic loop boxes called "buddha machines."

制作：FM3
乐器：张荐 窦唯 老赵
声音助兴：颜峻
录制于北京后海无名
完成于荷兰恩绅格得
感谢王磊授权使用他的作品采样。
这个植根北京，由Christiaan Virant及张荐组成的二人声响艺术乐团，继Buddha Machine之後，再次带来另一神来之笔：后观音。
仍然是充满著破格和超越意味的概念转化。单是演奏阵容，已足以叫人眼前一亮。FM3加上窦唯，绝对是个充满破格性的合作。还有身兼诗人、乐评人、实验演奏家及地下音乐推手的颜峻作声音助兴。而负责出版后观音这张专辑的，又是由Alok (Slow Tech Riddim) 所策划的香港实验厂牌Lona Records。这一切，都叫人对FM3+窦唯这张新专辑万分期待。
与我们所见惯的近年那些已变成陈腔滥调及肤浅的所谓”Crossover”不同，后观音是一次极深层的多向性融合。
音乐上，它不著痕迹地，化合著FM3的实验性环境声像及窦唯的摇滚乐根源，造出一个相互引发及补充的演奏状态。FM3的声像如流质物渗透著窦唯的敲击，诱发出其潜聚待发的环境音乐及後摇滚似的特质。同时间，窦唯那恰到好处的节奏元素，又将FM3声像中的抽像动态，含蓄地彰显成形。
再深一层地聆听，你又会发觉，FM3及窦唯彷佛是在以西方实验音乐的演奏模式，去理解及感悟东方哲学思想的抽像概念。疏落的声响，彷佛水墨画技法般画黑留白。重要的，不在於发声的部份，而在於发声与发声之间，於空白位置所遗下的氛围馀音所造就的冥想空间。憩静而平和得近乎禅的意味。甚至乎是一种近乎无为的演奏状态。同样地画黑留白，全张专辑十一首作品，只有第二、五、九及十一首分别命名「乌」、「无」、「吾」、「悟」，其馀曲目都只是留著空白。从「乌」(黑->色) 到「无」(白->空) 再到「吾」(自我) 及最後「悟」(顿悟) 的过程，透过的，是对於虚空的参悟冥想。这不是很富东方哲学色彩的布局吗？
重实验感而又不乏可听性，概念化之馀又不流於理论化。一切，都能从声响的角度以聆听的方式细意体会及感悟。一种完完全全道地中国的实验音乐。

My third album, Frozen
thank you
got u m8
vocals + guitar + piano = klein
mixing and production = klein
mastering = amir shoat
<3
credits
released April 23, 2020

What were the skies like when you were young?
These days, asking that question likely conjures disappointment in its answer. Dreams of possibility hardened by certainty. Hopes and prayers jet-cooled to brittle acquiescence. A lingering feeling that this is not what we asked for, not what we worked towards.
Promises of the future replaced by sins of the father.
It is in this particular light that the latest work, &quot;Moscels,&quot; by Iranian artist and musician Ata Ebtekar, also known as Sote, arrives on Opal Tapes, British label for the sonically curious and aurally disaffected. Contrary to potential expectation, it features no rhythmic exhortations, no colloidal outbursts, and no acoustic instrumentation of any kind. Synthesized entirely from physical models and oscillators, whose union gives the record its name, &quot;Moscels&quot; is a haunting, beautiful, and auspicious listen.
None of Ebtekar&#39;s work comes necessarily easy to the listener, but &quot;Moscels&quot; is suffused with a sense of wonder almost childlike in quality, and so it beckons kindly. In a certain sense, electronic music is a kind of magic, isn&#39;t it? And this is the sound of a magician at work. Dive into the sound of an otherworld, so close yet so far, where dreaming is less sweet than being, and where all that is possible remains still at hand.
- Chris Zaldua

Last week, Nicolas Jaar signalled that Against All Logic had performed a hard left turn, releasing an onslaught of a mix and an EP that made the older, warmer version of the project seem outmoded. Even so, the power and violence of 2017 - 2019, this new LP, is shocking. "Because if you can't beat 'em, kill 'em / If you can't kill 'em, fuck 'em," growls Lydia Lunch on "If You Can't Do It Good, Do It Hard." A booming electro rhythm re-enters and she catches the beat, chanting the track's title as if playing drill sergeant. Jaar has frequently asked that we move our bodies to his music, but never in this way. This is straight-up fight music. 2017 - 2019 isn't quite this lairy elsewhere, but most of it is jagged, hard-hitting and seriously over-driven. The change has Jaar sounding artistically replenished.
Some time away has maybe heightened the album's impact. Jaar's last major release was in February 2018, the Against All Logic album 2012 - 2017, where feel-good, sample-driven house, soul and disco were the prevailing moods. At the time, Andrew Ryce used words like "pastiche" and "generic" in a review, confirming the feeling that we'd come to expect, or even demand, a level of innovation from Jaar. He's an artist who, since getting his break as a teenager, had become a headline act off the back of strange, singular and often downbeat music. This seemed to stem from an uncommon curiosity. Away from the main tides of the international music scene these past couple years, Jaar has pursued a dizzying array of projects, including an artist residency at Het HEM in Amsterdam, a soundtrack for the famed Chilean filmmaker Pablo Larraín, and principal production work on the incredible FKA twigs album MAGDALENE. What appeared to plenty of people as a time of inactivity was, it seems, an intense period of creative development.
That Beyoncé is the first voice we hear on 2017 - 2019 is instructive of the bold new direction. Hers and Sean Paul's vocals are lifted from "Baby Boy" and layered over a crackling broken beat, an uncanny string-like instrument and inviting synth chords. A sample of Luther Ingram's 1972 soul song "(If Loving You Is Wrong) I Don't Want to Be Right" appears on track two, a degraded house cut, thus establishing a template of sorts: 2017 - 2019 is an album of stylistic leaps, radiant melodies, difficult-to-place sounds and red herrings. Back-to-back opening tracks with instantly recognisable sample flips, for example, sets up an expectation of many more to follow. Instead, there are none. That is unless you can spot the source of the hip-hop loop on "With An Addict." Jaar casually filters it into the arrangement to create a half-time contrast with the main drums, a rolling footwork/jungle-style pattern that features percussion reminiscent of the "Apache" break. The poignant, daybreak melody caps a track that bundles the album's strongest qualities.
The stylistic leaps I mentioned are actually a bit of an audio illusion later in the album. Perhaps you could describe "Alarm," "Deeeeeeefers" "Faith" and "Penny," which appear consecutively, as all being house and/or techno. Each features a four-on-the-floor kick pattern and is made for the dance floor. But there's a significant scope of differences and ideas between them. The two-minute-long breakdown/build in "Deeeeeeefers" might be dismissed by some EDM artists as being OTT, with Jaar ballooning his damaged synth lines until the whole thing plops back into place as though nothing has happened. "Faith," on which he flexes the choral range of his voice, could have been signed to Innversions were it not so weird. The fantastic "Penny," meanwhile, is a 142-BPM techno track that less dogmatic DJs should be into—its chargrilled timbre, matched with groovy percussion and emotive melodies, is unlike most modern techno productions. Along with the buckled drum cut "Alarm," these tracks seem to gain inspiration from the subversion of templates that in the past Jaar himself has worked with.
All of which returns us to the idea of replenishment. The military man on the record's artwork, the copious levels of distortion, the brazen use of samples, the warping of genre tropes—on the surface it all feels like a "fuck you," perhaps at the state of things, perhaps at Jaar's own artistic history. If there is anger here, though, it's complicated, and it's almost always offset by hope or damaged beauty. Perhaps, instead, the noise is an alternate means of expressing something that before found a different form in Jaar's music. The hazy peculiarity of the past is now manifested in different materials and through some force. Maybe it's an idea to consider during the record's only moment of relative calm: "You (Forever)," the closer. The tender vibe here is reminiscent of Space Is Only Noise, the 2011 album that established his name, but the sounds are of a far-off time and culture. A decent sign of an artist evolving, in other words.

Nicolás Jaar is a Chilean-American composer and recording artist based in New York. Among his notable works are the albums Space Is Only Noise, Pomegranates and Sirens.

These tracks were made on the road during my European tour from January to February of 2019.