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Northern Heads: Four Tet - The Track I've Been Playing That People Keep Asking About And That Joy Used In His RA Mix And Daphni Played On Boiler Room

2.02.2013

Four Tet - The Track I've Been Playing That People Keep Asking About And That Joy Used In His RA Mix And Daphni Played On Boiler Room


The Track I’ve Been Playing That People Keep Asking About And That Joy Used In His  RA Mix And Daphni Played On Boiler Room - KH

It seems the only thing particularly interesting about Kieran Hebden aka Four Tet's recent dancefloor cut (credited simply to KH) is the title and the story behind it.   Essentially the sparse track is composed of kick drum, high hat, cowbell with no melody barring the African tribesman vocal sample.  The interest around the track stems from Daphni (a new perhaps organic moniker for electronic artist Caribou) playing it noticeably in his Boiler Room internet DJ set.  And for Joy Orbison incorporating the song into his popular Resident Advisor mix (October 1, 2012).  The fascination with the track began with Caribou's own excitement and how he was able to use it (along with countless other tracks) into his new Daphni mixes reflecting his having "fallen back in love with moments in small, dark clubs when a DJ puts on a piece of music that not only can you not identify, but that until you heard it you could not have conceived of existing".

Some such as Stereogum suggest that the significance of the track/title is the inference to how people are consuming electronic music i.e. in their homes rather than clubs.

There’s a lot of buzz going around the Internet about how referencing Resident Advisor mixes and Boiler Room sets means people are consuming dance music via the Internet instead of in clubs.
Don't get us wrong it's a pretty shite track all on it's own- which is more to the point.  Many electronic tracks- perhaps not those of the oftentimes supremely melodic Four Tet- do not function well as standalones.  But KH's use of the present perfect tense (the track I have been playing) suggests exactly that 'playing' it live in a club to an engaged audience generated all the interest in the first place.  Perhaps there is still hope for "live" "electronic" "music".


 

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