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Reid’s creative phrasing and pulse games are, as always, a fascinating contrast to the rigid rhythmic grids typical of Four Tet constructions, but on NYC the pair doesn’t seem to find a happy middle ground anywhere.
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It’s great headphone music and would make a suitably dense soundtrack for a drunken stroll through the Lower East Side, where much of the inspiration for NYC was found.
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While far from easy listening, the mechanics of NYC sound positively pastoral, and the interplay between Reid and Hebden, formerly spastic and indebted to the free-est of jazz, is now melodic, the give and pull of the rhythmic forces against the melodic textures gentler, and the songs more likely to cause subtle head-bobbing and confused stares.