Velvet Grooves

Keiran Hebden (aka Fourtet) has done the wise and collaborated for the third time with Legendary Steve Reid, to record this new album entitled 'Tongues'. They previously worked on The Exchange sessions which were less far out than this one.

On this record, recorded during The Exchange sessions last year, they both collaborated on pure improvisation. Keiron on his magic electronic gadgetry to form sonic soundscapes of lush catchiness (on some tracks), whilst Reid provides the improvised drum parts. They call it 'Tongues' because it's this 'language' that they're talking - i.e. through the music. It was said in interviews how Kieran is one of the next steps in the 'evolutionary ladder' for new Jazz, and this is quite right. They both communicate fluently through melody - and this is basically their output. Keiran is following in the footsteps of Sun Ra and other cult Jazz players to create something dazzling.

Accesibility wise, the record doesn't do much justice as it's more random than it is structured. Yet it is still a highly impressive accomplishment. There are no edits, overdubs or anything on here - it's all live.And it's also good to see them both taking the rhythm out of their usual bounds. The open-minded and patient listeners will find the most reward, whereas the fussy ones will probably discard. Yet I think that's the whole point. If you've listened to Sun Ra before, you'll understand the sheer diversity and randomness.

Throughout the album, there are good parts - parts which stick with you and dance with your mind. 'Greensleevesl shows some lovely delay on the guitar from Kieran whilst his 'toy box' dances along the strings. 'The Sun Never Sets' & 'Brain' are probably those most likely to make singles. They're highly playful tunes. 'Our Time' stretches out a bit further, but still retains the delicate touches from Hebdens synths. 'People Be Happy' is the track most of us will know already - the backing to those promo video's going round. 'Left Handed, Right Handed' closes the album, focusing on Reids dub-percussion, with Hebdens overlaying surface noise.

The album as a whole is quite complex and impressive. But when I remember that all this is improvised - I'm wondering if it'd make a more meaningful session watching it instead...