Nathan Fake’s electronica has found a new home, with Evaporator his first album released on the InFiné label.
It is an instinctive work, written during the summer of 2024 and wrapped up in just six weeks. He describes it as “airy daytime music,” which is “not overtly confrontational electronic club music, it’s more accessible.” Continuing the instinctive approach, Evaporator was mostly recorded in single takes on a Cubase set up, with Fake employing synths and even a toy Casio keyboard on Yucon, which has become one of his most treasured compositions.
What’s the music like?
Evaporator engages both the mind and the feet in an easy and frequently appealing way. On many occasions it promises the joy of dancing, but there are moments where Fake’s music is aimed straight at the mind, specifically in removing tension and providing musical company.
Both elements combine in the loping beats and lush textures of You’ll Find A Way, while Fake’s clever trick of employing two paces at once works on the implied Euro riffing of Hypercube, where a distinctive five-note rhythm is punched out, and Aiwa, with its slow beats but busy percussion. Yucon has real presence, as well as the childlike simplicity from the toy keyboard, while Bialystok is really strong, led by a powerful and almost primeval kick drum.
Later on in the album, two collaborations make their mark. The weather-beaten Baltasound, with Dextro, appears to be a portrait of a Shetland settlement. On it, the pair create a massive pillow of sound out of which emerges a beat of reassuring depth. Orbiting Meadows features another good friend, Clark, and hints at music heard further afield, with mysterious bells above a broad canvas. Saving one of the very best tracks for last, Slow Yamaha is a beauty, a loping disco number with a rolling beat that works for all of its nine minutes.
Does it all work?
It does. Nathan Fake’s freedom of expression is key here, and the combination of intimacy and wide-open, elemental sound pictures are managed in a really satisfying way.
Is it recommended?
It is. This is another very strong addition to the Nathan Fake canon, another winner from Norfolk. The instinctive approach suits him well!
The fourth in Cherry Red’s Musik Music Musique series, this edition from 1979 acts as a prequel, an anticipation of a decade where electronic music moved decisively into the mainstream of pop music once and for all.
Between them Richard Anderson and John Reed have assembled 60 tracks spanning a wide range of styles and sounds, some of them heard on our radios to this minute, others that have almost disappeared. The combination makes for over three hours of very intriguing and instructive listening.
What’s the music like?
When I say, “Of its time”, that is a compliment – and in all honesty, a lot of the music on this collection could have dated from this year. Such is the reflection of how often a good deal of new music looks back to the pioneering spirits of 1979 for its inspiration.
There are so many highlights that it would be impossible to include them all, but safe to say the big hitters from Gary Numan (both Are ‘Friends’ Electric? and Cars) continue to hit the spot in spite of the regular presence on radio, while electro royalty The Human League, Moebius, John Foxx, Steve Hillage, Yello, Japan and Devo all impress, the latter with the fantastically grubby beat of Strange Pursuit. Suicide’s Dream Baby Dream is sublime, too.
More rewarding, surely, to find the outliers that have aged really well, and whose story is so well told by Mat Smith in the generous booklet accompanying the release. We get to learn about Fad Gadget, whose stately Back To Nature is a highlight of CD3. The perky M inclusion Made In Munich is fun, while Metal Voices’ At The Banks Of The River shows that electronic music can be graceful too. The storytelling of Quantum Jump‘s The Lone Ranger is memorable, Karel Fialka’s Armband pre-dated his only big hit Hey Matthew by some eight years, and Jude’s Mirror Mirror contains some brilliant soundbites.
Giorgio Moroder’s E = MC2 still sounds fresh off the page, while Telex offer an excellent cover of Rock Around The Clock. The Buggles’ Technopop is breezy pop perfection, while Visage’s Frequency 7 is a deadpan vocoder-fest. The brightly voiced Hammer (named after Jan) contribute a treat in Forever Tonight, as do the brilliant After The Fire with One Rule For You. A word also for The Men, whose I Don’t Depend On You struts its stuff to funky effect.
Does it all work?
There are some less successful tracks, but to be honest they are of benefit to the collection, as it means the year is presented warts and all, and is all the more realistic for the inclusion of the tunes that haven’t aged as well. Be warned that the earworm of Black Rod’s Going To The Country will stay all day, while there really isn’t a category to describe Fashion’s Technofascist, with its uptight vocal and odd marching beat.
Is it recommended?
Yes, enthusiastically. MMM is the most fun you’ll ever have in a history lesson!
by Ben Hogwood, with text from the album press release
London artist kwes. returns with his new record Kinds, his first solo material in eight years; an evolutionary work of meditative, otherworldly minimalism, ambient, classical composition & shoegaze inspired by memory, colour and his kids, who also helped create the project’s artwork. As the world outside becomes noisier, this is a project that creates a space of tranquility and solace, while planting a flag in yet another new frontier of popular music.
Kinds will be released by Warp Records on Friday 27 February, and you can listen to the new single Black (Grey) below:
Made after a reset following a period of burn out – a period alleviated by a family holiday in a popular holiday resort – kwes. was inspired to make Kinds after an incident involving his daughter: “My oldest daughter was busy drawing and in the midst of it, she accidentally knocked over her glass of drink and it went all over her work. It frustrated her for a few seconds, then she was fine and started another one… That was the catalyst for me to start the record – to decompress, to ‘release’ life-experience: good, bad and everything in between – to ‘commit it to tape’ as succinctly as possible, without too much deliberation”.
First previewed at the Warp Happening event at the Barbican, Kinds is formed of tracks named after colours, a system of synaesthetic classification founded on three personal principles: “The first being in relation to kinds of thoughts and feelings I had felt while making them, personal reminders / colour-field coded memories in a way…secondly, so that listeners can experience the music how they want to, without much narrative, and thirdly, I simply just love colour.“
Kinds favours a subtle wall of sound that recalls Brian Eno, and Jon Hassell’s fourth world music but also the noise and drone work of The Caretaker and Tim Hecker. It’s an introspective piece made with his children in mind. This is kwes.’ most immersive work yet, where lone melodies are allowed to expand and contract into vivid soundscapes.
Kinds will be exclusively premiered at the Tate Modern, London as part of a multi-sensory presentation, in collaboration with artist Ryan Vautier. Alongside the premiere, the event will stage an intimate conversation with kwes., as well as artist DJ sets throughout the night. The record will also be available to purchase exclusively at the event.
In a recording career lasting more than 15 years, Kwes Seyhas remained a musical explorer who doesn’t use conventional coordinates to find his destination.
The Lewisham-raised artist’s ‘Meantime’ EP in 2012 on Warp was a showcase of his artistic vision with four tracks, including the hit single ‘Bashful’ and the enduring, beautifully fraught anthem ‘LGOYH – Let Go Of Your Hurt’, which appeared on the Rye Lane soundtrack over a decade later, this time featuring Sampha and Tirzah. His debut album ‘lp in 2013 went a step further, melding the poppier aspects of his production with noisier sound collages.
His ability predictably led to him becoming a sought after producer and collaborator. Damon Albarn, Solange Knowles, Loyle Carner, Bobby Womack, The xx, Mica Levi, Sampha, Tirzah, Kelela, Hot Chip’s Joe Goddard, Nubya Garcia, Rosie Lowe, Selah Sue, Black Coffee, Lucy Rose, as well as his brother Coby Sey have all called on his services in the studio. kwes. has also worked on film scores, providing the soundtrack to the critically acclaimed romantic comedy Rye Lane as well as the groundbreaking documentary Black Is Beautiful, about photographic artist and activist Kwame Brathwaite.
Today I want to use Arcana to pay tribute to a great friend, who very sadly passed away recently at the age of 63.
I first met Matthias Siefert in the year 2000. We were working at an Internet startup company, Muze UK, whose function was to supply data on music and film to the likes of Amazon and BOL. Matthias was brought in to head up the German department – and later, after the company was absorbed into what was then RED, we ended up working together at PPL for a while.
We formed a firm friendship based on humour (or lack of!), sport and music. Matthias was incredibly well connected and our musical tastes frequently coincided, him approaching from a punk direction and me as a late pop music developer in the 1990s.
Matthias’s connections came through his own love of music and his career as a manager, looking after a host of up-and-coming bands while forming connections to the well-known ones. I have put together some videos of songs we heard at Matthias’s funeral on Friday, along with choice cuts from musical people he knew and who we interacted with. The first is from a gig we went to in 2003, to celebrate the impending release of a new album from Goldfrapp, some of whom he knew well. This was when they were about to go stellar:
Matthias’s funeral began with music from The Coral Sea, the California band he managed headed by Rey Villalobos:
A particularly beautiful moment in the ceremony combined a meaningful montage of photographs and this beautiful early Elton John song, previously unknown to me:
Matthias was good friends with Roland Orzabal and Curt Smith from Tears For Fears – and it was wholly apt that the shuffle function brought this song up to head the playlist in the pub where we had gathered to celebrate his life:
Another connection that Matthias had was with the duo Yello, with both Boris Blank and Dieter Meier. The obvious choice here is one of their stand-out tracks:
One of the many new bands Matthias introduced me to in the noughties was The Infadels, and to this day I am surprised they didn’t make it big, because the songs are brilliant! We went to an old-school, sweaty gig at the Water Rats, King’s Cross, where they dazzled with their special mix of electronic and pop. This song was a particular highlight for me!
There is only one place to finish, however…and it’s with the final song from the funeral ceremony, The Black Keys’ Little Black Submarine. Again this is a song I was not familiar with, but it struck deep with its deceptively pastoral opening and its uncanny resemblance to Led Zeppelin. Listen to the full song, though – especially if you don’t know it, and revel in the moment where the drums kick in!
Rest well, Matthias. We’ll miss you greatly, and our condolences go to your special family and friends in their shock and sadness. I will miss our chats about music and football, more recently from afar, but thanks so much for the music and the memories!
Simon Wallfisch (baritone, above), Joseph Middleton (below)
Ullmann Beryozkele from 3 jiddische Lieder Op. 53 (1944); Lieder der Tröstung (1943): Tote wollen nicht verweilen, Erwachen zu Weihnachten; From Drei chinesische Lieder (1943): Wanderer erwacht in der Herberge; Der Müde Soldat Taube Ein jüdisches Kind (1944) Haas 4 Songs on Chinese Poetry (1944) Leo Strauss arr. Iain Farrington Als Ob! (c.1942-4) Brahms 4 Serious Songs Op.121 (1896): Ich wandte mich und sahe an alle Ullmann From Der Mensch und sein Tag Op. 47 (1943): Heimat, Der Liebsten, Verdämmern, Nacht Brahms 4 Serious Songs Op.121 (1896): Wenn ich mit Menschen und mit Engelszungen redete Ullmann Stille from Der Mensch und sein Tag Op. 47 (1943) Ilse Weber Wiegala (1944) Ravel Kaddisch from 2 mélodies hebraiques (1914)
Wigmore Hall, London Tuesday 27 January 2026, 1pm
Reviewed by Ben Hogwood
This remarkable concert, given on International Holocaust Remembrance Day, took the form of a wholly appropriate tribute to the musicians, writers and academics assembled by the Nazis in the Ghetto Theresienstadt. This was based at Terezin, the small town near Prague, and used as a propaganda tool to present Jewish prisoners as thriving artists, in spite of them being held prior to being sent to the Auschwitz or Treblinka concentration camps.
German-English Baritone Simon Wallfisch is a member of a deeply musical family, with his grandmother, Anita Lasker-Wallfisch, a survivor from the Women’s Orchestra of Auschwitz. Together with pianist Joseph Middleton he presented music from four composers held in the ghetto, part of a sequence intertwined with diaries, poems, essays, pictures and musical excerpts. They gave the Wigmore Hall a deeply moving period of contemplation, their consummate artistry and control ensuring that a celebration of the creative spirit ultimately won through.
Wallfisch and Middleton (above) used the music of Viktor Ullmann as reference points. A principal focus was the composer’s settings of German haiku equivalents by the Czech poet Hans Günther Adler, a Holocaust survivor whose son Jeremy addressed the audience before the concert began. Ullmann’s music found a blend of touching simplicity and harmonic daring, pulling against tonal confines to give increased tension but in a way bringing the music closer to Berg than Schoenberg.
His word settings were particularly vivid in the first song, Beryozkele (Little birch tree), especially the line Jedes Bletele ihr’s Scheptshet schtil a t’rile (Each little leaf whispers quietly its own prayer), a parallel for each of the souls held captive in the town.
Meanwhile the crumpled harmonies of Tote wollen nicht verweilen (The dead do not want to linger) contrasted with the eerie purity of the fragment Erwachen zu Weihnachten (Awakening at Christmas), while in the Adler settings we heard the concentrated Heimat (Home) and the shafts of hopeful light offered by Der Liebsten (The loved one). The cold bell of Verdämmern (Twilight) rendered by Middleton offered beauty but also fear, before the pair achieved a remarkable stasis during Stille (Stillness).
The music of Carlo Sigmund Taube was similarly moving, through the innocence of Ein jüdisches Kind (A Jewish child), but was a wild contrast to the approach of Leo Strauss, whose cabaret scene Als Ob! (As If!) was deadpan, its humour brilliantly done but cold in the extreme.
The music of Czech composer Pavel Haas continues to make a striking impact, and his 4 Songs on Chinese Poetry were prefaced by a video clip (above) of the tensile Study for Strings from Theresienstadt itself. The songs were dramatic, particularly The moon is far from home, where the bare bones of Middleton’s left-hand line supported the powerful vocal. The discomfort and distorted imagery of A sleepless night were similarly vivid.
Finally Ilse Weber, the nurse who opted to travel with her young children to Auschwitz, was represented by Wiegala (Cradle Song), a touching sweetness lent to the upper piano part and a moving simplicity to Wallfisch’s reading.
Complementing the four Terezin composers was the music of Brahms, whose last work for voice, the 4 Serious Songs Op.121, were heard in a concert in the ghetto. Their gravitas here was only enhanced by the composer’s sense of mortality, Wallfisch singing with poise and power. The final word, however, was left to Ravel, whose Kaddisch was a potent memorial, Wallfisch commanding through his intonation and ornamentation.
A prolonged silence followed; the only appropriate response to a deeply moving concert. Here, in spite of the horrors suffered by the composers and the subjects of the readings, it was possible to appreciate their resolve and enduring talent, their lights somehow undimmed. Here they were remembered with the utmost respect and appreciation, and I for one shall never forget it.
Arcana.fm 