Nathan Fake on the hardware and software behind his new album, Providence

Having eschewed the blended delights of London for a go back to his native Norfolk three years in the past and beaten a -12 months patch of the feared creator’s block, Nathan Fake reenters the musical fray. It’s a go-back of a few fashion and swagger with Providence, a new album full of impossible-to-resist synths, arpeggios, and warped rhythms.

Fake’s popularity has been built on his specific tackle digital track. He first came to light in 2003 when a come upon with similarly mercurial electronic musician James Holden brought about Fake’s debut single, Outhouse, on Holden’s Border Community label. The luxurious LP Drowning in a Sea of Love in 2006 noticed Fake lauded as primary new expertise on the digital track scene and has been followed via a slew of critically acclaimed albums and EPs and remixes for the likes of Jon Hopkins, Radiohead, Perc, and Clark.


Providence is a beautiful dinner party of digital tactics and a special welcome. It indicates an end to Fake’s creator’s block and, hopefully, the beginning of a long and fruitful journey with Ninja Tune. We were overjoyed to meet him at his home studio in Norfolk to learn more about the digital and analog equipment behindt work. You’ve got an eclectic array of synths at your disposal. Can you speak to us through them?

Nathan Fake:

“There’s a pic walking Ableton and Cubase. I’ve been given a Korg Prophecy, one of the essential matters I used in Providence. There’s a Jupiter-6 as properly, and an Arturia MicroBrute was used a tiny bit for some bass sounds. “In phrases of drum machines, there’s a Casio RZ-1 and a Roland Aira TR-eight. Again, the TR-eight was used sparingly, particularly for bass drum sounds. It’s first-rate, however weird, that it doesn’t truely sound like an 808. It’s very boomy, so you ought to EQ the kick, as they’ve introduced a 50Hz increase. I run it through a preamp to warm it up a touch because it is spiky and virtual, even though it’s fairly faithful to that analog, synthesized sound with the hello-hats and stuff, and there are a pair of truly high-quality, more sounds, too.”

The Korg Prophecy is a blast from the past.

“I remember while it came out – maybe about 1996 – analyzing that The Orb and Autechre have been using it and questioning it have to be a simply excellent synth. I encountered it online 12 months before remaining and the notion I’d test it out. It’s a weird little component resembling a MIDI controller and a completely unusual synth. It’s a mono synth, but it’s bngiven quite a deep synthesis system. Korg got here up with their MOSS [Multi-oscillator synthesis system], which means it has all the standard rectangular, triangle, etc., waveforms; however, it additionally has reeds, brass, and plucked strings. Some of these dense, washy virtual synths arenth so that you have huge pad sounds; however, you could only do one word at a time!

“I suppose the Triton and the Trinity advanced from the Prophecy, and I’ve in no way honestly been into those big workstations, but I like how awkward the Prophecy is, and the sounds of it are pretty. Usable.” There’s an actual warm temperature to the synths in Providence. How did you achieve that? “I like that blending of aesthetics when you hard up against something pristine and virtual. I’ll record stuff onto cassette tapes… And also, while you’re taking a phat stereo sound and squeezing it into mono, it provides a one-of-a-kind size too.” Do you watch a software program that makes us too lazy to feature ‘that little something extra’ to the sound?

“Yeah, perhaps. Currently, though, I assume the tape has come back. Loads of labels are even freeing cassettes once more; that is simply the antithesis to virtual streaming or MP3s, truly—the same purpose vinyl. We were given famous once more – it’s a pleasant alternative to the virtual codecs. “When I started making music, I’d put things onto cassette, as that changed into all I had. Then I was given a computer, which turned into extraordinary, and now I’m recording stuff onto tape again as I suppose tape sounds excellent.” You suffered a piece of creator’s block. Did Providence become available in one huge rush after that?

“It did, virtually. It didn’t take long at all. I started writing things toward the end of 2015. However, I commenced working well on the tracks in my final year and was given the album all finish June’s aid of June. There became quite a few overlaps, where I turned into writing and completing stuff simultaneously, so all the tracks had been simultaneously on the go. An electronic musician is like spinning plates at instances.

“[Laughs] Yeah. Mainly while you’re painting on a PC. You can carry up to a saved task, paint it for a chunk, and then transfer it to something else. I bet I used lots more hardware than I have before, so I caught to one track at a time more than I’ve carried out. My older stuff was achieved solely at the computer, so it turned into surely fun having extra physical stuff to use.”

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Spent a year testing the market for sock monkeys in Naples, FL. My current pet project is donating robotic shrimp in Hanford, CA. Spent several months getting my feet wet with weed whackers worldwide. Spent 2001-2006 training shaving cream in Hanford, CA. Crossed the country lecturing about bathtub gin in West Palm Beach, FL. Spent 2001-2007 implementing licorice with no outside help.