Nathan Fake is one of the most prominent electronic music artists and producers. Back in 2006, we were all fans of the hit ‚The Sky Was Pink‘, which blew our minds, drew us in and inspired us. Now, we’re a part of a new chapter in the career of major English producer Nathan Fake. After a long period of pause, Fake is coming out of the shadows to release a new album via InFiné, Evaporator.
With a career spanning over two decades and performances on some of the most exclusive stages in the world, he has made an undeniable name for himself within the electronic music scene. For over twenty years, Nathan Fake has honed his mastery of “ancient” synthesizers with the precision of a violinist or painter, merging the rawness of nature with the structure of techno. Growing up in rural Norfolk, he developed an idiosyncratic style shaped by early encounters with Orbital, Aphex Twin, and Boards of Canada. He was signed to Border Community, which allowed him to expand his reach and propel him forward in the electronic music scene. Across eleven albums, he has collaborated with artists such as James Holden, Jon Hopkins, Apparat, and Clark, and remixed works by artists including Radiohead, bdrmm, and Christian Löffler.
Today, Nathan Fake opens a new chapter with InFiné. With the first two excerpts from the album, “Bialystok” and “The Ice House,” he reaffirms his status as a singular voice. He channels the warmth and immediacy of his early work while introducing a new sense of emotional precision. The track opens with a garage-house beat, driven by a descending-tone kick that fuels a raw, almost primitive energy. A sharp snare, reminiscent of electronic maracas, shapes the rhythm, while scattered melodic notes shimmer like ice bubbles. The result is a sound thatis subtle, propulsive, and radiant, revealing Fake at the height of his craft.
Paired with Bialystok, the second single, The Ice House unfolds a luminous palette of FM synthesizers, crystalline arpeggios, and a clear, resonant bass. Together, the two tracks outline the sonic identity of the new album, conceived as airy, daytime, and melodic.
„A clear, echo-drenched lull of a track, 84 seconds long — not one more. At this point, nothing Nathan Fake does is surprising; he’s an electronica wunderkind capable of anything, and usually the very best.“ Libération
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