Nearly every year now a record from the European electronic music scene is touted for having noise-washed, shoegazer, My Bloody Valentine-esque sonics. Pluramon, M83, and Ulrich Schnauss are obvious (if less than exciting) recent examples.
This year it is Nathan Fake’s Drowning in a Sea of Love – the difference being that Fake is a producer on a progressive house label (Border Community), whose earlier work has been more dancefloor functional than Pitchfork-friendly. Last year James Holden’s stunning remix of Fake’s “The Sky Was Pink” received unanimous praise (for good reason) from the techno cognoscenti (the original, also excellent, is included here), so it is understandable that Fake’s full-length would be highly anticipated. But does it meet expectations? Maybe, if you prefer a leaner, more focused M83-meets-Boards-of-Canada aesthetic, but with less advanced sound design, from an erstwhile prog-house producer.
Archived article by Aaron Tate