Discover the Comfort of Familiarity in Nathan Fake's Latest Electronic Journey.
The Genesis of 'Evaporator': A Comfortable Evolution
Recorded with remarkable efficiency over six weeks in the summer of 2024, largely through single takes, Nathan Fake's seventh album, 'Evaporator,' represents a pivotal moment in his artistic journey. This record signifies an artist who has embraced his current musical direction, shedding past anxieties about his creative path. A sense of serene contentment permeates 'Evaporator,' suggesting Fake has matured gracefully into his musical identity, more than two decades after his initial foray into recorded music. This work embodies an artist entirely at ease with his capabilities, a stark contrast to the conventional image of the 'tortured artist.' It's perhaps no coincidence that this album marks the first time Fake's likeness appears on its cover, symbolizing his newfound transparency and self-acceptance. In his introductory reflections for the album, Fake speaks candidly about liberating himself from the self-consciousness he once harbored regarding his use of older production software, such as Cubase VST5. He simply states, "That's just how I play," a remark that conveys a palpable sense of resignation and acceptance.
Embracing a Consistent Sonic Identity: The Sound of 'Evaporator'
In many respects, 'Evaporator' mirrors this sentiment of relaxed self-assurance. Its sonic palette remains largely traditional, characterized by a fusion of expansive, pleasantly warm synth melodies and rhythms that navigate a space between the intricate shuffles of UK garage, the nuanced complexity of IDM, and the steady, four-on-the-floor pulse of techno. The album deliberately steers clear of contemporary dance music trends such as Afro house, hard techno, or hyperpop, opting instead for a timeless appeal. It's unlikely that any track, despite its inherent charm—like the gently flowing "Aiwa"—will achieve widespread virality on platforms such as TikTok through Fake's direct intervention. This steadfast adherence to his signature style reinforces the idea that Fake is creating music on his own terms, without chasing fleeting trends.
A Legacy of Familiarity: Echoes of the Past
Indeed, this musical territory is not new for Fake. Tracks such as the "Fluffy Mix" of "Outhouse," originating from his 2003 debut 12", would seamlessly integrate into 'Evaporator,' as would much of his preceding album, 2023's 'Crystal Vision.' The track "Hypercube," with its arpeggiated motifs and soaring synth crescendos, distinctly recalls James Holden's acclaimed progressive house remix of Fake's own "The Sky Was Pink," a track recognized as one of the most psych-infused dance anthems of the 2000s. This continuity underscores Fake's consistent artistic vision and his ability to refine, rather than reinvent, his sound over the years.
The Enduring Appeal of Melody: The Core of Fake's Craft
The success of this revivalist approach is largely attributable to the profoundly satisfying nature of Fake's music, which elevates the concept of 'pleasant' to a high art form. "Bialystock," the album's lead single and arguably its strongest track, is built from little more than shimmering layers of synths, alongside percussive elements reminiscent of 2 in a Room's "She's Got Me Going Crazy" (famously sampled by Moby in "Go"), all enveloped in enough reverb to cavernously fill any space. Yet, the song effortlessly triggers various pleasure centers in the brain, gracefully expanding and contracting. It serves as a powerful reminder that in electronic music, few things are as compelling as meticulously sculpted sounds gently ebbing and flowing into focus, a characteristic shared with the influential French house scene of the 1990s.
Melody as Sovereign: Crafting Emotional Resonance
Throughout the entire album, melody reigns supreme. "Bialystock" is anchored by a four-chord progression that evokes a sense of comforting melancholy, akin to the emotional depth found in The Smiths' discography. Similarly, "The Ice House" is constructed around a keyboard riff so enchantingly inviting that Fake found himself compelled to let it unfold continuously. This pronounced melodic emphasis acts as a potent counterpoint to 'Evaporator's' somewhat circumscribed and occasionally predictable sonic framework. Tracks like "Black Drift (Outro)" and "Yucon" bear such a strong resemblance to Boards of Canada's 1990s output, with their hazy, soft-focus synths, that one might half-expect them to mysteriously vanish into the Scottish highlands. Nevertheless, their melodies are imbued with enough yearning nostalgia and subtle paranoia to carry their weight, creating a deeply immersive experience.
Balancing Comfort and Aspiration: The Album's Trajectory
'Evaporator' offers a gratifying, low-stakes listening experience, providing a serene refuge in an otherwise chaotic world. It’s akin to a comforting episode of 'Friends' paired with a scoop of vanilla ice cream—a familiar delight that doesn't challenge the palate. However, the album’s spontaneous, 'first-thought-best-thought' approach comes at the expense of ambition. Like a pre-ordained obsolescence, the 11 tracks on 'Evaporator' rarely venture beyond a perpetual state of circular motion. Even the appearance of Pigs Pigs Pigs Pigs Pigs Pigs Pigs drummer Dextro on "Baltasound" brings no significant shift, while the underwhelming "Slow Yamaha" demonstrates that a nine-minute runtime doesn't guarantee sonic evolution. Only the collaboration with Clark on "Orbiting Meadows" subtly expands its horizons, introducing hints of acoustic instrumentation and dissonance, yet the overall equilibrium remains undisturbed. While this provides primal satisfaction for some, attentive listeners might yearn for an occasional shift, a 'second act' to rouse 'Evaporator' from its sweet electronic reverie and introduce a touch of invigorating discord.