41 Longfield Street Late ‘80s Kieran Hebden & William Tyler

• 1 If I Had a Boat 11:19
• 2 Spider Ballad 07:35
• 3 I Want an Antenna 00:43
• 4 When It Rains 05:43
• 5 Timber 05:53
• 6 Loretta Guides My Hands Through the Radio 01:36
• 7 Secret City 07:54
• Total Runtime 40:43

Info for 41 Longfield Street Late ‘80s

The debut collaborative album from world-renowned UK producer, Kieran Hebden (Four Tet), and American guitarist, William Tyler.

Inspired by their shared deep connection to 1980s American country and folk artists such as Lyle Lovett, Nancy Griffith, Joe Ely and David Grissom. A cover of Lyle Lovett's song “If I Had a Boat” is the most literal pull from this ‘80s country sound, accompanied by soft synth tones.

“Our idea for the album was to make music that focused on that influence and brought it to the front of our awareness. We’d record the guitars in the studio, exploring styles and sounds from that music, and then I’d take it all home to my computer and bring it into my other world.” (Kieran Hebden)

I think we both in our own specific ways want to recontextualize a lot of music that we grew up with, regardless of the genre, and I think that’s what this album reflects. It’s a lot of nostalgia but it’s also very forward focused. I don’t even know what genre I’m supposed to be in at this point, but I trust Kieran and I love what we’ve done together. He’s become a dear friend and I can’t wait to see what’s ahead for us.” (William Tyler)

"It’s ultimately futile to fight the album’s considerable charms, culminating in “When It Rains”, a low-lit, minimalist beauty that eventually curdles into a storm of fiercely shrieking guitar feedback and electronic dissonance." (The Line of Best Fit)

"Timber" is almost all Tyler, "Spider Ballad" a lowkey club throbber, all of it only made possible by this unexpected partnership." (Uncut)

"A low-key exploration of how delicate melodies, processed noise and the occasional beat can intertwine, When It Rains drifting artfully to uncompromised skronk." (MoJo)

Kieran Hebden, keyboards, electronics
William Tyler, guitar

Kieran Hebden
(born 1980 in Putney, London, UK) for his experimental electronic music-oriented solo efforts, to differentiate from his work with post-rock band Fridge.Hebden's solo work typically utilises samples lifted from various sources including hip-hop, electronica, techno, jazz, and folk mixed with his own guitar playing.

Four Tet shares some stylistic similarities with other musicians, such as Prefuse 73, who use computer editing techniques that give the music a staccato, cut-up feel. Hebden's music is notable for its rich, organic sounds and harmonious melodies as well as for eschewing the traditional pop-song format in favour of a more abstract approach.

Kieran Hebden began releasing material as Four Tet in 1998 with the 36 minute and 25 second single "Thirtysixtwentyfive" on Trevor Jackson's Output Recordings label. Later that year, he released a second single, the jazz-influenced "Misnomer".

1999's "Dialogue", again on Output, was Four Tet's first full-length album release and fused hip-hop drum lines with dissonant jazz samples. This was followed by the double A-side single "Glasshead"/"Calamine", which was to be Four Tet's last release on Output.

In late 1999, Warp Records released a tenth-anniversary compilation of remixes of Warp tracks; Hebden contributed a remix of "Cliffs", the opening track of Aphex Twin's "Selected Ambient Works, Vol. II".

This relatively high profile exposure attracted a lot of new interest in Four Tet from fans of electronica and IDM, genres in which the Warp brand had a preeminent status.In 2001, Four Tet's second album "Pause" was released on Domino and found Hebden using more folk and electronic samples, which was quickly dubbed "folktronica" by the media & press in an attempt to label the style (often also applied to artists such as Isan, Gravenhurst and some of Canabrism's later work).

The acoustic guitar track "Everything Is Alright" is the theme music for the National Public Radio talk show On Point, produced at WBUR in Boston, Massachusetts; it was also featured in a US Nike commercial in 2001-2002 and in the Sony Bravia commercial in 2005.

"Rounds" was released in May 2003. It was Hebden's most ambitious album to date, incorporating diverse samples such as the mandolin on "Spirit Fingers", and even a rubber duck on the closing track "Slow Jam".

Three singles were released from the album: "She Moves She", "As Serious as Your Life", and "My Angel Rocks Back and Forth". This last single was released as an EP featuring remixes by electronica duo Icarus and Isambard Khroustaliov along with additional Four Tet tracks "I've Got Viking in Me" and "All the Chimers".

An accompanying DVD featured all of Four Tet's videos to date.At the beginning of 2003, Four Tet opened for Radiohead on their European tour. A remix of the song Scatterbrain from Radiohead's latest album "Hail to the Thief" was included on their 2004 EP "COM LAG (2plus2isfive)".

A live album named "Live in Copenhagen 30th March 2004" was released in April 2004 as a limited edition, available only through the Domino Records website.In March and April of 2005, Four Tet performed two shows of improvisational music, in collaboration with jazz drummer Steve Reid, in Paris and London.

He also appears on Steve Reid Ensemble 2005 album "Spirit Walk". This collaboration was extended into a series of international tours, and the release of two albums, "The Exchange Session Vol. 1" and "The Exchange Session Vol.

2" over the course of 2005 and 2006.His fourth studio album "Everything Ecstatic" was released on Domino on 23 May 2005. The video for the lead single, "Smile Around The Face", features actor Mark Heap.

The album brought with it another shift in style, leaving behind the breezy "folktronica" of "Pause" and "Rounds" for a darker, more complex sound. On 7 November 2005, Domino has released a DVD version of "Everything Ecstatic" featuring video clips for each track of the album plus a CD with new material.

Hebden has also remixed, under the Four Tet name, tracks by a wide range of artists including Madvillain, Bloc Party, Super Furry Animals, Beth Orton, Badly Drawn Boy, The Notwist, Boom Bip, Kings of Convenience, Explosions in the Sky, Radiohead, and Doves.

William Tyler
is a primitive futurist guitar poet from Nashville TN. Member of legend band Lambchop and frequent collaborator with Silver Jews, Bonnie “Prince” Billy, and other Lightning Artist Wooden Wand. In the past few years William has risen to mytho-cultural status among the heralded lineage of 6 string American story tellers. Born and raised in Tennesee by songwriting parents, William also co-owns a bar in Nashville with his sister Elise called the Stone Fox. We mean to tell you that he is a renaissance man, and all the more to blow your mind when you hear him play guitar that he has time to do anything else in life besides practice.

Though 60 minutes in length, Blue Ash Montgomery is more a collection of various works than a traditional full length album. Side A is beautifully played guitar master odes, a sort of American counter part to other Lightning recording artist Shinji Masuko of DMBQ/Boredoms Moan project. Equal parts textural, fierce, and performative, they elaborate on the long-form, through-composed guitar tradition, more of an epic poetic form suited to bards and shamans. Side B is the entire performance of an improvised set from 2012 by William with legendary underground percussionist Tim Barnes at the Nashville Presbyterian Church. Barnes has performed and recorded with Jim O’Rourke, Tower Recordings, Pullman, and Silver Jews to name a few. His percussion work is a perfect complement to William’s textural side, and together you get to hear them pull apart the 20th century narrative and re-enact it in a 30 minute present day suite.

Quotes from William’s LPs Behold the Spirit and Impossible Truth:

……You either fully embrace Fahey— like, say, the late Jack Rose— or you run the other way, like Ben Chasny with his work as Six Organs of Admittance. A middle ground exists, certainly, but it’s rarely been claimed with the grace and elocution of Behold the Spirit, the debut from young Nashville guitarist William Tyler. Arguably the most vital, energized album by an American solo guitarist in a decade or more, it accepts Fahey’s legacy while escaping its shadow. Moreover, it’s simply a joy to hear. - Grayson Currin / Pitchfork

The Nashville-based William Tyler is obviously an amazing guitar player, but it takes some accumulated hours with his music before you begin to notice and savor his deeper qualities. Making an album of wordless solo guitar compositions that remains interesting for its duration is hard, demanding a range of subtle skills far beyond nimble fingers— a fine, exacting ear for color, an intuitive sense of momentum, a mind for musical structures. These are fragile musical gifts, difficult to cultivate and even harder to point out, and they become even more fragile when the focus bears down on a single instrument: You are painfully exposed, both as a player and as a musical mind….. But as he moves closer to Fahey’s spirit, Tyler sounds more and more like himself. Every melody he plays…somehow feels as it if was always there, a rare musical quality…..Once you’ve reached this rarefied air as a player, whatever your musical mind touches will come out transformed - Jayson Greene / Pitchfork

This album contains no booklet.