Four Tet has shared two dreamy new songs, ‘Mango Feedback’ and ‘Watersynth’ – check them out below.
Four Tet – aka Kieran Hebden – also released ‘Scythe Master’ and, under his ‘KH’ alias, ‘Looking at Your Pager’, last month.
Listen to the two new songs here:
A song by Four Tet also featured on a recent Eat Your Own Ears Recordings EP release.
‘Eat Your Own Ears Recordings EP 1′ is the first of four EPs that will eventually make up Eat Your Own Ears Recordings’ debut compilation album. It comes as the live promoter of the same name celebrates its 20th anniversary months on from the launch of its record label.
Four Tet named his new track ‘Scythe Master’ after Eat Your Own Ears founder Baker’s scything skills (he is the one-time winner of a Hackney Marshes scything competition).
Hebden said of his relationship with Baker and Eat Your Own Ears: “Shout out the magical powers of EYOE and the Scythe Master. Long may their musical offerings continue to bring bliss to this world.”
The producer and DJ, whose real name is Kieran Hebden, signed with Domino in 2001 for the release of his second album ‘Pause’ before going on to release ‘Rounds’ (2003), ‘Everything Ecstatic’ (2005) and ‘There Is Love In You’ (2010) on the label.
But, last November, Hebden revealed that Domino had removed three of those albums (‘Pause’, ‘Rounds’ and ‘Everything Ecstatic’) in a bid to stop a legal case that he launched last August over historic downloads and streaming royalty rates.
In a statement posted on social media back in June, Four Tet said: “I have a bodacious update on my case with Domino. They have recognised my original claim, that I should be paid a 50 per cent royalty on streaming and downloads, and that they should be treated as a license rather than the same as a CD or vinyl sale.
“It has been a difficult and stressful experience to work my way through this court case and I’m so glad we got this positive result, but I feel hugely relieved that the process is over. Hopefully I’ve opened up a constructive dialogue and maybe prompted others to push for a fairer deal on historical contracts, written at a time when the music industry operated entirely differently.”
He went on to add: “I really hope that my own course of action encourages anyone who might feel intimidated by challenging a record label with substantial means. Unlike Domino, I didn’t work with a big law firm and luckily the case took place in the IPEC court (where legal costs are capped) so I was able to stand my ground.
“I hope these types of life of copyright deals become extinct – the music industry isn’t definitive and given its evolutionary nature it seems crazy to me to try and institutionalise music in that way. I feel so thankful for the people who worked with me on this, all of them understood my motivation, and I am truly grateful for all of the fans and artists who showed support for the intention here.”
A representative for Domino told NME that the label is “pleased that Kieran Hebden has chosen to settle his 2020 claim and accepted financial terms first offered to him in November 2021”.
“Kieran’s claim arose from differing interpretations of specific clauses in a contract entered into by Kieran and Domino in 2001 in the pre-streaming era, and the application of those clauses to streaming income,” a statement from the label read. “Since 2021 Kieran has added to and pursued his claim despite numerous attempts by Domino to settle the matter.”
Domino’s statement continued: “Neither the Courts, nor the settlement terms, have made any determination as to how streaming should be categorised or streaming income split.
“The case now having been settled, we are glad to be able to dedicate our full attention to resourcing and supporting our artists and we wish Kieran continued success in his career.”
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