I’m so upset to see that @Dominorecordco have removed the 3 albums of mine they own from digital and streaming services. This is heartbreaking to me. People are reaching out asking why they can’t stream the music and I’m sad to have to say that it’s out of my control.

— Four Tet (@FourTet) November 21, 2021

Hebden responded to this with a statement on twitter, stating, “I’m so upset to see that Domino Records have removed the 3 albums of mine they own from digital and streaming services. This is heartbreaking to me. People are reaching out asking why they can’t stream the music and I’m sad to have to say that it’s out of my control”. After explaining that he was in an ongoing legal dispute with the record company, he added, “Earlier this week Domino’s legal representative said they would remove my music from all digital services in order to stop the case progressing.  I did not agree to them taking this action and I’m truly shocked that it has come to this. I considered the people who ran Domino to be my friends and to be driven by trying to create a great musical community. As a result Domino own 3 of my albums forever. Music I created that’s important to me and to many of you too.” 

Due to Domino Record’s calculated action, Hebden was allowed to amend his lawsuit further in order to include the removal of his music which had further breached his contract.  However, one and a half years later, it seems the electronic producer and his former record label have come to a settlement at last. Hebden announced on twitter that Domino Records had finally recognised his initial claim, resulting in him receiving 50% royalty on past and future streaming and download income. This is to be treated as a licensing income, rather than a CD or record sale.

Hebden vocalised his disappointment that the major record label will still own part of his catalogue, stating, “Sadly Domino still own parts of my catalogue for life of copyright and would not give me an option to take back ownership.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.” Hebden ended his post giving thanks to those who supported him through the legal dispute, saying “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.

I have a bodacious update on my case with @Dominorecordco. They have recognised my original claim, that I should be paid a 50% royalty on streaming and downloads, and that they should be treated as a license rather than the same as a CD or vinyl sale.
(1/8)

— Four Tet (@FourTet) June 20, 2022

Okay here we go, our debut album is called Wet Leg and it’s coming April 8th. Such a big milestone for us hobbits. We never thought we’d get the opportunity to make an album when we started the band. You can pre order right now. Love Wet Leg xx https://t.co/w3TF9zaSqW pic.twitter.com/5Le19rAdPW

— Wet Leg (@wetlegband) November 29, 2021

The newly released songs are “Too Late Now“ and “Oh No“, the former having a music video directed by Fred Rowson. Loudwire describes the video as showing “the duo and their bandmates as robe-clothed aliens amidst the city streets taking in their new surroundings and generally freaking out the city’s denizens”. Teasdale says the song is about “sleepwalking into adulthood“, noting that “I never imagined that my adult life would look the way it does and I guess this song reflects on some of the pressures and pulls of life … I think this song is about accepting that life can feel a bit shit from time to time“.

The band formed after the failure of Teasdale’s initial solo project, titled RHAIN, after which she worked as a wardrobe assistant in commercials and music videos (having reportedly worked in this capacity on Ed Sheeran’s video for “Bad Habits“). Getting together with her old college friend and occasional collaborator from the Isle of Wight, Teasdale and Chambers started seriously thinking about music during lockdown, in that time getting a manager and signing up to Domino Records.

Before the recent releases, the group only had two songs to their name; the singles “Chaise Longue“ and “Wet Dream“. Despite the lack of material, it seems to be working so far. “Chaise Longue” got millions of streams, playing on the BBC’s 6Music, as well as praise from the likes of rock veteran Iggy Pop and American songwriter Hayley Williams. The duo seems happy to not take themselves too seriously, however. Stereogum describes their style as “combining a dreamy, Wes Anderson-esque aesthetic with sharp, sardonic indie rock“. Teasdale has confirmed the importance of fun in the band, saying that “we’re not trying to achieve anything… we’re just in a band for the fun of it“.

In preparation for the release, Wet Leg will be touring, both this December supporting Scottish synth-pop trio Chvrches with three dates, and continuing into next year, visiting around the UK, France and even America. They’ll also be appearing on Late Night With Seth Meyers on December 8^th, so there’s plenty for fans to enjoy after so long of little to listen to. For those interested in ticket information and tour dates, you can look here. The tracklist of the new album can be seen below.

Wet Leg Tracklist:

01 Being in Love
02 Chaise Longue
03 Angelica
04 I Don’t Wanna Go Out
05 Wet Dream
06 Convincing
07 Loving You
08 Ur Mum
09 Oh No
10 Piece of Shit
11 Supermarket
12 Too Late Now

Hebden is specifically targeting a part of his contract, signed in 2001; well before anyone knew of the prolificity of streaming, that states, “In respect of the exploitation of the Masters and any videos embodying the Masters and received by us from our licensees outside the UK we shall credit your audio and audio-visual royalty accounts respectively with 50 per cent of all royalties and fees arising from such exploitation.”. With Hebden claiming it “will contend that a reasonable royalty rate in respect of revenues derived from exploitation by way of streaming and/or digital download under the implied term of the 2001 Agreement has at all material times been at least 50 per cent; Four Tet’s position as to the precise rate is reserved pending evidence and/or expert evidence on this issue.”.

In short, Hebden believes the total amount of revenue he receives from streaming and downloads (which after a lot of complicated legal jargon ends up being about 13.5%) is unfair. He, and other artists including Radiohead and Marillion, have tried to argue this case before to no avail. Four Tet is seeking damages of up to £70,000 plus costs over the claim for historical streaming and download royalties as well as a legal judgement on the 50 per cent rate.

Today, 3 of the albums released through Domino: Pause (2001), Rounds (2003) and Everything Ecstatic (2005), have been removed from streaming services as a response to Hebden’s aggrievance. He said to fans that this action is “heartbreaking” and “out of [his] control”. The issue is due to be heard in court on January 18^th of next year, we may not be able to hear these 3 albums through streaming until then.

I’m so upset to see that @Dominorecordco have removed the 3 albums of mine they own from digital and streaming services. This is heartbreaking to me. People are reaching out asking why they can’t stream the music and I’m sad to have to say that it’s out of my control.

— Four Tet (@FourTet) November 21, 2021

He later added, “I signed with Domino over 20 years ago, in a different time before streaming and downloads were something we thought about.”

Earlier this week Domino’s legal representative said they would remove my music from all digital services in order to stop the case progressing. I did not agree to them taking this action and I’m truly shocked that it has come to this.

— Four Tet (@FourTet) November 21, 2021

 This conversation has been brought to light a lot recently, as regulators, industry figures and the government continue to scrutinise the streaming royalty process for artists as part of the Department for Digital, Culture, Media and Sport (DCMS) Commons Select Committee’s inquiry into the matter. Last month, the DCMS called for new legislation that “enshrines in law [artists’] rights to a fair share of the earnings” to address the inequality in payments received by artists.