Kieran Hebden (better known as Four-Tet) has been at the forefront of experimenting in electronic music for a career spanning 36 years since he joined forces with his fellow schoolmates to form Fridge at the tender age of 15. With a degree in mathematics and computer studies, the mind of Four-Tet is one of reasonable logic and rhythmic patterns. Now, having dusted off his old KH moniker, Hebden has dropped his latest work titled “Looking At Your Pager”.

Centring around a 3LW single from back in the year 2000 “No More (Baby I’ma Do Right)”, you can hear Hebden’s trademark pacy yet cascading percussive grooves that pop and crackle over the retro vocal sample, utilising perhaps a more dubstep style bassline that snarls and wobbles over the infectious beat. The sound is both reminiscent and futuristic all at once.

You can have a listen to “Looking At Your Pager” in the video down below:

Discussing the inception of the new track and the process of getting it out into the world, Hebden said; “This track was made in the summer last year just before my first festival set in a long time. I wanted something new to play that would feel universal, positive and futuristic and this is what I came up with. Since then I think more people have asked me about this track than for anything else I’ve ever made and I’ve had amazing times playing it to the best crowds you could ask for. It took quite a while to get approval for the vocal sample but it finally happened recently and now the music is out in the world for everyone.”

In other news, in the summer of 2021 took aim at his label Domino, claiming damages against them for the royalty rate that was applied to downloads and streaming revenue on music that was first released in the noughties.

With Hebden’s representatives claiming that; “a reasonable royalty rate…has at all material times been at least 50 per cent”. Whilst the agreed rate (which came long before the first iPod and streaming platforms stated that the record sales would provide a rate of 18% royalties to the artist.

Having Provided three full albums under his 2001 contract; Pause (2001, Rounds (2003) and Everything Ecstatic (2005) as well as two Eps, eight singles and a live record, Four Tet’s case comes at a time when regulators, the government and industry leaders continue to scrutinise the practices concerning remuneration for artists, as part of the Department for Digital, Culture, Media and Sport (DCMS) Commons Select Committee’s Inquiry into the issue.