Dernières nouvelles par villes

Montréal
Montréal
Dernières nouvelles
Barcelona
Barcelona
Dernières nouvelles
Buenos Aires
Buenos Aires
Dernières nouvelles
Mexico
Mexico
Dernières nouvelles
San Francisco
San Francisco
Dernières nouvelles
Tokyo
Tokyo
Dernières nouvelles
Afrique du Sud
Allemagne
Argentine
Australie
Autriche
Belgique
Biélorussie
Brésil
Bulgarie
Canada
Chili
Chine
Colombie
Corée du Sud
Danemark
Équateur (pays)
Espagne
États-Unis
Finlande
France
Ghana
Grèce
Guatemala
Honduras
Hongrie
Inde
Iran
Islande
Israël
Italie
Japon
Kenya
Liban
Lituanie
Luxembourg (pays)
Maroc
Mexique
Mozambique
Nicaragua
Norvège
Pays-Bas
Pérou
Pologne
Portugal
Roumanie
Royaume-Uni
Russie
Serbie
Suède
Suisse
Syrie
Trinité-et-Tobago
Tunisie
Turquie
Uruguay
Venezuela
Viêt Nam
Zambie
Barcelona
Buenos Aires
Dubai
Montréal
Mexico
San Francisco
Tokyo
filter par éditions
toutes les éditions
filtrer par année
Le réseau MUTEK
filtrer
Réseau
Artistes
Découvrez les artistes MUTEK

Festival international de créativité numérique et musiques électroniques

Deep, emotive, wandering techno with an underbelly full of bass, Norfolk’s Nathan Fake is a producer who has the skill to hold onto the melodies in a track while letting every other element spin out of the control. Like fellow countryman James Holden, whose influence he bears and whose Border Community imprint release his albums, Fake borrows sound cues freely from the late-90s Warp catalogue – think a 4/4 Board of Canada flirting with touches of more recent Aphex Twin – and melds them with the energy rush of progressive house. But Fake’s techno is just as equally defined by its menacing chords, syncopated breaks, swerving left turns. Getting his start in 2003 on Border Community with the “Outhouse” EP, in 2006 he released his first album, the highly acclaimed “Drowning in a Sea of Love”. It was named the second best album of that year by Mixmag magazine. In 2009, he returned with a harder and more grounded sound with his second album, “Hard Island”, which Resident Advisor described as “dizzyingly spun together”, a work that revels in an “almost manic state of exchange and change, with Fake trying to hold it all in focus around another of his fizzy horizontal melodies.” Fake is equally noted for his live sets’ ability to use spontaneity, noise filters, and demented sound rushes to boost the audience experience.

Étiquettes

Border Community

Liens