This is the second single from Nathan Fake‘s forthcoming album Evaporator, due for release on 20 February on InFiné. Although called Slow Yamaha, it features a musical depiction of evaporation at the end.
What’s the music like?
Hypnotic, and ultimately compelling. The start is deceptive, with a minimal approach but gradually the track develops and the horizons start to shimmer, with lovely warm synthesizers starting to dominate.
Big blocks of sound surround the listener, so that when the music disappears in a puff of air at the end the effect is similar to the sensation of taking off.
After several years of silence, Nathan Fake makes a powerful return with Evaporator, his first album on InFiné. Written in six weeks during the summer of 2024, the record distills two decades of exploration into a lucid, tactile form of daytime electronica — radiant, physical, and full of air. Emerging from the nocturnal pulse of Blizzards and Crystal Vision, Fake turns toward light and openness.
His analog synths and rhythmic architectures shimmer with space and energy, dissolving density into motion. Tracks like Bialystok and Slow Yamaha pulse with kinetic precision, while “Yucon” and “Aiwa” drift into dreamlike ambient clarity.
Built entirely on his ancient Cubase setup and recorded largely in single takes, Evaporator captures Fake at his most instinctive and human, while collaborations with Clark and Dextro deepen the sense of dialogue between sound and emotion, between control and surrender.
This marks not only a major comeback for one of the UK’s most singular electronic artists, but also the start of a new chapter: Fake will tour the album with a brand-new A/V live show created in collaboration with Berlin-based visual artist Infinite Vibes, expanding his luminous sound into a full sensory experience. The first few shows in Berlin, Paris, Milan and Roma have just been announced.
A luminous fusion of electronica, ambient undertones, and leftfield techno, Evaporator is Nathan Fake reconnecting with instinct, clarity, and daylight — and taking it back to the stage.
You can listen to Bialystock and The Ice House below:
There is no sub plot to Crystal Vision, Nathan Fake’s sixth album.
The Norfolk-based producer describes his approach as “music for music’s sake – recorded without angles, agendas and themes”. This means a continuation of his energetic electronica, creating powerful minds-eye visions with its bold colours and busy rhythms.
What’s the music like?
Crystal Vision pulses with energy. The music here often feels like part of a bigger machine, especially in the cymbal-rich percussion, which on tracks like Boss Core feels like some sort of euphoric process, the repetitive motion of its beats leading to greater highs.
Vimana is a bracing and colourful track, using its synths to trace bright lights across the sky. Bibled grows inexorably over a thudding breakbeat, while the urgency of Hawk also whips up a storm, while uncannily describing its subject matter.
Wizard Apprentice gives an appropriately cool vocal to The Grass, while the closing Outsider is a busy and rewarding collaboration with Clark that takes a restless, probing single line and spins it out across an urgent beat and a wide sonic panorama, the music becoming ever more dense and thrilling as it progresses.
Does it all work?
Yes, it does – fulfilling Fake’s promise that the music is there for its own sake, creating positive energy and thoroughly rewarding experiences.
Is it recommended?
It is indeed, enthusiastically so – a strong addition to what is now a formidable discography.
Blizzards began with Nathan Fake’s intention to soundtrack ‘the ideal rave’. Heavily based on his live shows, it was made with an eye on musical instinct, going with the moment and effectively going back to first principles.
The Norfolk producer’s fifth album, Blizzards’ title is a nod towards the chaotic politics of the UK in recent times, but its spirit is about channeling positive energy in response.
What’s the music like?
By turns, the music in Blizzards is invigorating and heartwarming. Fake has always been able to summon up kinetic energy without a moment’s notice, which explains why the album gets off to such a strong start with Cry Me A Blizzard, but it’s an approach that bears fruit elsewhere with the twists, turns and clattering breakbeats of Firmament. Vectra and Eris & Dysnomia power upwards from deep bass movements, their loops sweeping all before them, while Torch Song is all about the euphoric treble, with rushes of white sound and widescreen percussive movement. Tbilisi, meanwhile, has sonorous bell-like textures to counter the fizzing drum track
These heady, hedonistic moments of abandon are beautifully countered by warm-hearted thoughts and rich harmonies. Ezekiel evolves magically, from primitive beginnings to brightly lit vistas all centred on a majestic melodic loop, taking the listener on an immersive trip. It is a real beauty, one of Fake’s warmest musical thoughts to date. The closing Vitesse, with all energy spent, revels in the comedown of a good and thoroughly satisfying night, slowly descending in pitch as it comes in to land.
Does it all work?
Yes, handsomely. Nathan Fake has always shown a strong suitability for the album format but here, on his own label, he works brilliantly well with a combination of structure and flexibility. The instinctive approach gives Blizzards a human edge and a warmth that might not have been so apparent had the music been more studio-governed.
Is it recommended?
Without hesitation. In a competitive field, Blizzards is probably Nathan Fake’s finest piece of work to date, confirming him to be one of the top talents of the day in UK electronic music.
As we move halfway through the eighth week of lockdown here in the UK, I thought it a good time to round up some of the best sounds I’ve been enjoying in the last week or two.
The arrival of spring is hopefully in full swing, and there are good signs of creativity throughout the electronic music community.
This playlist begins with the first track of the Conference Of Trees album from Pantha du Prince, before enjoying some rather wonderful pictures brought to us by Peter Broderick, Erland Cooper, Kaitlyn Aurelia Smith and brothers Brian and Roger Eno.
There is brand new music from Bibio, one of the standout tracks from Nathan Fake‘s Blizzards album and to wrap things up a remix of Philip Glass‘s Two Pages by none other than Max Cooper.
Arcana.fm 