Nathan Fake steps into a brighter sonic world on Evaporator, an album he describes as “daytime music” — open-skied, melodic, and shaped by a sense of movement and light. Where earlier records explored nocturnal intensity, this collection favours clarity and space, folding ambient drift, deep electronica, and traces of trance into accessible, gently uplifting shapes.
The album reflects Fake’s instinctive working methods and long-standing relationship with his tools. Much of Evaporator fell naturally into place, created on a mix of his trusted “dinosaur” software and carefully introduced new technology. That balance gives the music a tactile, human feel, even at its most widescreen.
Collaboration plays a subtle but important role. Dextro (Ewan Mackenzie) transforms his formidable drumming into the blurred choral force of ‘Baltasound’, while Clark returns for ‘Orbiting Meadows’, an eerie, slow-turning duet of microtonal piano and swelling pads.
Across the record, textures shift and mutate: garage rhythms slow into weightier shapes, static bends into melody, and crystalline synth lines dissolve almost as soon as they appear. Tracks like ‘Aiwa’, ‘Hypercube’, and ‘Slow Yamaha’ capture the album’s central mood — bright, fluid, and in constant motion, as if everything is gently rising into air.
The album reflects Fake’s instinctive working methods and long-standing relationship with his tools. Much of Evaporator fell naturally into place, created on a mix of his trusted “dinosaur” software and carefully introduced new technology. That balance gives the music a tactile, human feel, even at its most widescreen.
Collaboration plays a subtle but important role. Dextro (Ewan Mackenzie) transforms his formidable drumming into the blurred choral force of ‘Baltasound’, while Clark returns for ‘Orbiting Meadows’, an eerie, slow-turning duet of microtonal piano and swelling pads.
Across the record, textures shift and mutate: garage rhythms slow into weightier shapes, static bends into melody, and crystalline synth lines dissolve almost as soon as they appear. Tracks like ‘Aiwa’, ‘Hypercube’, and ‘Slow Yamaha’ capture the album’s central mood — bright, fluid, and in constant motion, as if everything is gently rising into air.
Pickup available at Dreamhouse Records London
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