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Rating: I would say that the album released by this twenty-two-year-old English musician closely approaches - in a period where it is nonetheless an unwritten obligation to always show even a minimum interest in things we would gladly do without - this album by Nathan Fake, as I was saying, closely approaches the concept of a Kinder surprise.
Not excessively unexpected nor shocking - but on the other hand, no one demands that much; nevertheless, I would say, ah, that for those interested in that triangular-shaped genre defined by vertices like Mùm, Boards of Canada, Dntel et cetera, this work stands out as one of the most interesting purchases.
How does it sound? Basically, the progression of each song involves the development of a harmonic loop (which often becomes the central point of the composition, as in "Bumblechord" - which probably owes something to "Yesterday Was Dramatic..."), the formation of arpeggio-based melodies ("Stops", "Charlie's House"), a four-on-the-floor drum pattern that doesn’t sound too synthetic.
Ah, there's also a ghost track. How nice.
The perhaps most interesting songs, in my opinion, are the aforementioned "Charlie's House", and the two concluding ones "Long Sunny" and "Fell" - tracks with a broad scope that take the time to mature without rushing the little life forms that make up a fascinating musical ecosystem (ha ha...).
The cult of the strange little noise is always subordinate to the real music, and, if we exclude the (urgh) "atmospheric" interludes of "Bawsey" and "Falmer", all forces seem directed towards the purest pleasure - given by the relationship between different wavelengths - major, minor, little arpeggio, parappappa.
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