Hypothetically, if I had to choose one successful musician to be for the day, Kieran Hebden, (aka Four Tet), would be my last choice. When everything you have produced since the outset of your solo career has been praised madly by anyone who can use spellcheck efficiently, there must be a lot of pressure to keep up the good work. It's been two years since we have been able to sink our teeth into a new Four Tet LP, and on first listen Pink is clearly more rooted in dance music than its predecessor, There is Love in You.

While Hebden loves experimentation, be it through overlaying time signatures in a Reich-esque manner, or clever vocal manipulation, Pink seems to rely on minimalistic songwriting with snappy four-to-the-floor beats, and more loops than you can shake a stick at. The sounds Four Tet utilises tend to be more subdued in comparison to some of the hard hitting synths or garishly compressed drums in dance music today, but the sheer relentless pace of this album makes it a high octane affair from start to finish. Tracks such as 'Lion', 'Pyramid' and 'Jupiters' seem like intelligent dance anthems in the making that I can see being played incessantly on Rinse FM, or cut up and reworked by a million of Kieran's colleagues.

'128 Harps' has some phenomenal drum patterns and the harps weave brilliantly around the rhythm, but I have a serious issue with the vocal samples Four Tet haemorrhages the song with. Not only are they as annoying as the Crazy Frog ringtone, they are mixed way too prominently in the song. It is a shame because the rest of the song is so euphonious. A similar fiasco occurs on 'Lion' with Hebden using another annoying vowel repeated until it's embedded in your brain. Four Tet's sample wizardry is reclaimed on 'Pyramid' where the vocal sample seems to work with what's going on in the song, not battling against it.

The eleven minute epic that is 'Peace For Earth' sees Four Tet return to musical territory more closely occupied by the material found on There is Love in You, more so than the rest of Pink. It works well as a bit of respite from the pounding drum beats you are used to for the first forty minutes of this LP. The contrast between the slow and graceful opening synths and the myriad of arpeggiated bleeps in the second half of the song works to create a brilliantly uplifting mood. The final song of the album, 'Pinnacles', seems to meet in the middle between Hebden's interest in dance music and the more leftfield elements of his sound, with a heavily modulated double bass line throughout the whole piece accompanied by some weird scratchy sounds incorporated for good measure. It sort of reminds me or a more toned down Thundercat, and that is obviously a very good thing indeed. These final two songs, though both being brilliant, don't really seem to make sense tacked onto the end of what is essentially a dance record, and despite it not bothering me, I can see this incoherence bothering other people.

For me Pink is a very mixed bag. On one side you have the weird and wonderful moments like 'Peace For Earth' and 'Pinnacles' and the euphoria of 'Lion' and 'Locked, but at the same time there are some less than enjoyable sections on this album such as the frequent moments where Four Tet is happy to string out one phrase over and over again for a considerable length of time. Not to mention that, to my annoyance, 'Ocoras' seems suspiciously similar to Gold Panda's 'Vanilla Minus' in places. Despite my criticisms this album is still a fairly well rounded and well mixed LP it is just that my expectations for Four Tet are so very high, especially after releases such as Rounds and the near-perfect There is Love in You. If you prefer Hebden's mixtapes, especially Fabriclive. 59, then I strongly recommend you give this album a listen, but if you loved Four Tet's usual mad approach to songwriting and production, you better look elsewhere.