Four Tet & Nathan Fake
Four Tet & Nathan Fake
Mohawk
Austin, Texas
Electronic music is one of the most misunderstood languages of music. It is a diverse spectrum, ranging from some of the experimental classical musicians of the 20th century and krautrock to the synth-pop of the ‘80s and today’s drum & bass and trance arenas. It is also a springboard for some true creative talent by the likes of Karlheinz Stockhausen, Yellow Magic Orchestra, Afrika Bambaataa, Terry Riley, Jean-Michel Jarre, Tangerine Dream, Depeche Mode, Aphex Twin and Daft Punk. In this category are Four Tet and Nathan Fake, experimentalists with complex and layered sounds that may sound deceptively simple to the average ear but are far from that. Their praised electronic art has earned them credibility, and they have been able to forge a small fan base in the indie and alternative rock communities.
Nathan Fake started the night with hypnotically atmospheric instrumental fare that at times seemed sci-fi in nature, but it was never of the campy variety because of his talented beat-making status, stringing samples with loops and whatnot to create an aurally invigorating excursion -- all in the space of a live setting. He wore his trademark plain shirt with a big dot in the center, which seemed to give the impression that everything was simple on the surface, but deep down it was actually the opposite -- deep down representing the talent he possesses. The audience packed the floor, with some heads moving to the synth wizardry unfolding before them; it’s a tell-tale sign of what electronic music encapsulates: there is the physical movement and then there is the cerebral appeal. And some skirt that fine line without alienating a core fan base, like Nathan. As a result, he has been able to have some of his works featured in mainstream media appearances while still pleasing his intended audience.
The more famous act, Four Tet, the alias for Kieran Hebden, incorporated mechanistic and organic sounds - all generated live with great precision and tunefulness in the shape of experimentalism. If listeners paid close attention, they could hear jazz pieces one minute and then the next minute folk elements all in an electronic background. Again, the music may seem as simple as the blue shirt he donned, but such detail to his music has gotten him collaborations with artists such as the legendary Radiohead, Manic Street Preachers, Beth Orton, Super Furry Animals and even metal monsters Black Sabbath.
The average audience member might be pleased with the different collages of electronic sounds emanating from big speakers (which explains both acts’ appeals to even a cult indie-alternative rock following), but DJs, producers, remixers and those in the know would be thrilled with Four Tet’s and Nathan Fake’s thoroughly engrossing musical adventures. They defy the stigma of electronic music as mindless, mechanistic noise or cheesy, made-for-the-quick-buck grooves that anyone can make from the comfort of their own home. Taking bits and pieces and transforming them into a complete musical experience is no easy feat, and both acts were able to demonstrate their talent to audiences who can appreciate the more cerebral portion of electronic music.
by Jeff Boyce
Mohawk
Austin, Texas
Nathan Fake started the night with hypnotically atmospheric instrumental fare that at times seemed sci-fi in nature, but it was never of the campy variety because of his talented beat-making status, stringing samples with loops and whatnot to create an aurally invigorating excursion -- all in the space of a live setting. He wore his trademark plain shirt with a big dot in the center, which seemed to give the impression that everything was simple on the surface, but deep down it was actually the opposite -- deep down representing the talent he possesses. The audience packed the floor, with some heads moving to the synth wizardry unfolding before them; it’s a tell-tale sign of what electronic music encapsulates: there is the physical movement and then there is the cerebral appeal. And some skirt that fine line without alienating a core fan base, like Nathan. As a result, he has been able to have some of his works featured in mainstream media appearances while still pleasing his intended audience.
The more famous act, Four Tet, the alias for Kieran Hebden, incorporated mechanistic and organic sounds - all generated live with great precision and tunefulness in the shape of experimentalism. If listeners paid close attention, they could hear jazz pieces one minute and then the next minute folk elements all in an electronic background. Again, the music may seem as simple as the blue shirt he donned, but such detail to his music has gotten him collaborations with artists such as the legendary Radiohead, Manic Street Preachers, Beth Orton, Super Furry Animals and even metal monsters Black Sabbath.
The average audience member might be pleased with the different collages of electronic sounds emanating from big speakers (which explains both acts’ appeals to even a cult indie-alternative rock following), but DJs, producers, remixers and those in the know would be thrilled with Four Tet’s and Nathan Fake’s thoroughly engrossing musical adventures. They defy the stigma of electronic music as mindless, mechanistic noise or cheesy, made-for-the-quick-buck grooves that anyone can make from the comfort of their own home. Taking bits and pieces and transforming them into a complete musical experience is no easy feat, and both acts were able to demonstrate their talent to audiences who can appreciate the more cerebral portion of electronic music.
by Jeff Boyce
