{"title":"home : Big Blocs","description":"","products":[{"product_id":"nathan-fake-evaporator","title":"Evaporator","description":"\u003cp\u003eAs Nathan Fake rises from the nocturnal subterranea and rave catharsis of his previous records, on Evaporator, he resurfaces into the domain of daylight, bringing a tangible sense of air rushing against your face, of big skies, and endless landscapes. The idea of pop accessibility that trickled into 2023’s Crystal Vision is refracted here through the prism of sweeping ambient, deep electronica, and trance uplift.\u003cbr\u003eEvaporator is Fake’s idea of “airy daytime music”, with each track a different barometer reading across the album’s varying atmospheres, which range from vibrant sunbursts, bracing rainscapes, and fine mists of clement melodics. “It’s not overtly confrontational electronic club music,” states Fake. “It’s quite pleasant, it’s accessible. As I was progressing through making the tracklist, I called it a daytime album. It doesn’t feel like an afterparty album.”\u003cbr\u003eFor the past decade Fake has been gingerly introducing collaborations with heroes and friends alike into his lone, idiosyncratic working process. Border Community alumni Dextro AKA Ewan Mackenzie transmutes his ferocious drumming for Pigs Pigs Pigs Pigs Pigs Pigs Pigs into the blurred choral thump of ‘Baltasound’. ‘Orbiting Meadows’, meanwhile, is his second collaboration with Clark, an eerily idyllic duet where microtonal 18EDO piano clangs slowly twirl around wailing pads.\u003cbr\u003eEvaporator marks the junction point of old technology and ever fresh creativity for Nathan. The trusty “dinosaur” age software, particularly Cubase VST5, that has powered two decades of music is rarely updated. “I used to sort of feel a bit ashamed of using such old software, and then I kind of had an epiphany – that’s just how I work”, comments Fake. “That’s just how I play. I’m very fond of these old tools, and I get the most joy out of them, but now I’ve incorporated new technology too.”\u003cbr\u003eWhen an artist accumulates so much synergy with their instrument, music making becomes instinctual. By Fake’s account, much of Evaporator just fell into place. The album title arrived randomly in his head (“it felt completely perfect. Airy.”), ideas looped and developed until things locked into place and just felt right. ‘The Ice House’ is a fleeting glimpse of the sonic world he taps into in this creative state, its glassy FM synths built around a counterpoint between rough-hewn crystalline arpeggios and sparse yet gravitas-bearing bass. “That riff I just wrote out on the keyboard, I just played it forever and ever and ever. The original track ended up being really short. Here you go, and it’s gone!”\u003cbr\u003eThese unplanned channellings of sound call forth records from Fake’s past while he looks ahead, perhaps getting at the very essence of his musicianship. The opener ‘Aiwa’ (“the breeziest,” he muses) reminds of the introspection that characterised Providence, excited by the fire and grit of Steam Days’ textural experiments, its chunky slams and clatters surging into a flood of harmonic buzzing as they reach out for old wisdom. ‘Hypercube’ stampedes in a similar chronological confluence, infusing an incessant synth line reminiscent of the golden age of rave with the crackling, ecstatic energy of modern festival anthems.\u003cbr\u003eLike the vaporisation of liquid to particles, everything that Evaporator presents has a mutant desire to be amorphous. Sounds rarely settle; the irradiated garage beat of ‘Bialystok’ is pitched downwards to driving, rebounding effect, while ‘You’ll Find a Way’ warps static into shivering energy, cinematic synth strings building anticipation into a gradual gush of chords. This translates into a more expansive stereo field than Fake has explored before. ‘Slow Yamaha’ saves the wildest, most kinetic transformations for last with a cornucopia of crispy melodies and fried drums; a sibilance of cymbals on the left, a susurrus of shakers on the right, and kaleidoscopic lasers pulsing and fizzing all around. Evaporation culminating in pure excited atoms.\u003cbr\u003eIn a world where music has increasingly become background content, making albums remains lifeblood for Fake: “It makes me realise how long; twenty years is ages! It’s weird to see how much the world has changed. Release day back then you did fuck all, now you spend all day on socials. 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Avec cette nouvelle release, il renoue avec son premier amour : le collage sonore, les cuts affûtés et la magie des réglages en temps réel. Ce mix télescope une salve de morceaux pour les fondre en un voyage fluide, ponctué de breaks millimétrés et de respirations UK et tropicales. \n\n  Le sound design se révèle à la fois cathartique et transitoire : un mélange subtil de beats et de paysages qui se répondent et se dissolvent les uns dans les autres avec une grande finesse. De l’intro-manifeste rendant hommage à ses pairs DJ Shadow et DJ Qbert à une section plus brute, teintée d’urbex et rappelant l’énergie de Company Flow, Pone construit un récit aussi réfléchi que violemment heureux, et paradoxalement apaisé. 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Conceived in a custom-built studio alongside producer Basile3, \u003c\/span\u003e\u003cspan\u003eCELLS\u003c\/span\u003e\u003cspan\u003e is an album shaped by friction and breath, moving between intimate memory, desire, and vital energy. Driven by a fertile tension between the cello and its digital transformation, the record unfolds a shifting sonic landscape where organic fervor meets electronic metamorphosis.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eRelentlessly exploring deeply moving sonic territories, Gaspar Claus — cellist, composer, and producer — has followed a highly stimulating path since the early 2010s. From one creation to the next, he has forged a singular, primarily instrumental language at the crossroads of multiple worlds and artistic encounters: his father, flamenco guitarist Pedro Soler; international indie rock figures such as Bryce Dessner (The National), Casper Clausen (Efterklang), and Sufjan Stevens; Japanese noise icon Keiji Haino; or closer to him, French electronic producer Rone; or songwriter Malik Djoudi, to name but a few.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eThe album bears a very short title, leaving — like its musical content — maximum space for the listener’s imagination. In English, the term evokes a fundamental biological unit, a place of meditation or confinement, a computing unit, a component of a social organism, as well as the three letters that form the name of his instrument of choice: the cello.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003e“I like the idea that each track is a musical cell, both autonomous and connected to the others. However, the album is not based on any particular concept. Music, especially instrumental music, doesn’t necessarily need a narrative or discourse imposed on it.”\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eGaspar’s music takes the form of contemporary chamber music, deeply marked by the American minimalist wave and threaded with subtle echoes of traditional music from the Mediterranean basin, as well as the laboratory-like experimentation of modern electronic music. Fully unfolding in the silent folds of the night, it exudes a rare emotional density driven by intellectual rigor, without ever slipping into ostentation.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003e“I had my dream studio built in Banyuls-sur-Mer, where I live part of the year, because I couldn’t manage to work in Paris,” the musician explains. “I spent about a year and a half there working on \u003c\/span\u003e\u003cspan\u003eCELLS\u003c\/span\u003e\u003cspan\u003e. The creative process was complicated. The album resisted a lot before taking shape. I went through doubts and questioning, even moments where I considered giving up.”\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eClear and direct, with no audible trace of that difficult gestation, the final result — seemingly flowing effortlessly — appears all the more striking. To overcome this long period of inner turbulence, Gaspar Claus relied on a steadfast credo: \u003c\/span\u003e\u003cspan\u003e“It’s simply precious to make music.”\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eMixed by his long-time artistic partner David Chalmin, Gaspar also benefited from the production work of Basile3, a leading figure in playful yet avant-garde electronics and the artist behind the 2024 debut album \u003c\/span\u003e\u003cspan\u003e43°C\u003c\/span\u003e\u003cspan\u003e on InFiné. Having toured together following \u003c\/span\u003e\u003cspan\u003eTancade\u003c\/span\u003e\u003cspan\u003e, Basile accompanied Gaspar Claus throughout the entire creation of \u003c\/span\u003e\u003cspan\u003eCELLS\u003c\/span\u003e\u003cspan\u003e. His imprint is particularly audible on “Amour Constrictor (Fuge)” and “Ecstasy.”\u0026nbsp;\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003e“Basile is the ‘producer’ of this record: he turned my fantasies of transforming the cello into electronic matter into reality,” Gaspar explains. Indeed, all sounds on \u003c\/span\u003e\u003cspan\u003eCELLS\u003c\/span\u003e\u003cspan\u003e originate from the cello, with only two exceptions.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003e“Most of these sounds have been processed, run through machines, transformed into more synthetic or electric sounds, sometimes more percussive. Listening to the album, I feel a kind of fertile struggle between the instrument and its digitalization. The electronics remain organic because their raw material always comes from the cello.”\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eTrack by track, Gaspar develops a constant dialogue between melancholic textures and dynamic friction (“Désir des astres”), percussive fragments and moments of fragile bliss (“Cells”, “World of Idols”), drawing sonic landscapes that are both organic and inhabited.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eOn “Die Wahl der Vögel” (“The Choice of the Bird” in German, his mother’s language), we hear the song of a great tit, an enduring memory of his home in Banyuls. “I play with this motif until it is gradually absorbed into the digital. Perhaps this piece speaks of a nature slowly disappearing, replaced by its digitized double.”\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eFamily memories and traces of his father Pedro Soler resurface on “Colaïdo,” named after a small sailboat on which Gaspar learned to navigate the Mediterranean, likely returning to the remote Tancade beach, the original setting of his first album.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eOn “Cupidon,” the voice of Matt Elliott (also known for his electronic \/ post-rock project Third Eye Foundation) carries Gaspar’s words in an intimate setting where the listener becomes the “archer,” triggering the story of life and setting the living in motion.\u0026nbsp;\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003e“El Paradís Són Els Altres” (“Paradise is Other People” in English) is a response to the famous quote by French existentialist writer Jean-Paul Sartre (“Hell is other people”), now part of common language.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003e“There is a form of liberation in going toward others, listening to them, taking care of them,” comments Gaspar Claus. “I believe we would be better off lifting our eyes from our own navels and no longer being afraid of others. 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