As is true to his musically omnivorous form, Kieran Hebden’s latest release reads like a brief history of post-rock, and the genre’s many influences. There Is Love in You is another 360-degree, sanely stated musical thesis from the lo-fi maestro.

Hebden has been on the scene since 1997 with Fridge, which eventually became Badly Drawn Boy’s backing band for a short while. Since Four Tet’s inception in 2001, Hebden has continued as a bright spot in the post-rock experiment, often joining forces with some top-ranking names: Radiohead, Stereolab, Tortoise?, Explosions in the Sky, Adem?, Super Furry Animals? and The Pastels?. Collaborations, live performances, remixes, DJ sets, and singles have been as much a part of Hebden’s seasoned career as anything, making full-length releases such as his latest all the more textured.

What’s most striking about the album is how seamlessly integrated are the various genres, including electronica, jazz and folk. Hebden has also worked with jazz drumming legend Steve Reid, which has helped Four Tet? to sprawl while flow at the same time. The thing is, though most people say they like “all kinds” of music, but they really don’t. Most people don’t like hip-hop, electronica and folk equally. You may like free-form jazz, but perhaps not with the repetition of techno. Four Tet? is at least many genres of music, but it can never be accused of being pop music.

The first three tracks of Love have a decidedly more techno edge with pretty, ambient vocals used to different affect on both. “Angel Echoes” kicks the album off minimally, with fragmented vocals smacking of Astrud Gilberto, as if to whet the appetite for more Love. “Love Cry” picks up nicely. However, after the four-minute mark, the avant-folk juggaband flow morphs into a more conventional club-dance remix ala the early 90s. A more reflective, intellectual dynamic of the album is introduced with “Circles,” an old-school computer-y track which could have been used in a late-70s David Cronenberg film like Scanners.

The magic of the UK native’s latest, even more so than the great, 2003-release Rounds, is not in copy-and-pasting undigested samples. Nope, the magic is when he takes these overripe genres and turns them into wine. Whether or not you’re into the emotionally textured sprawl of post-rock, there can be no doubt of the tempered, organic maturity involved in each composition on this album.

For the uninitiated, tracks like “Sing,” “This Unfolds” and “Plastic People” may sound like over-intellectual remixes of music stolen from retail stores like Diesel. But technotards, DFA-label aficionados and the like will understand that Hebden is continuing to break ground on a style of music yet to be fully appreciated. “She Just Likes to Fight” closes Love, reaching back to post-rock’s early days, reminiscent of Tortoise’s moody self-titled debut album – an appropriate punctuation to a comprehensive album.