There are many remedies for writer’s block. Roald Dahl used to climb into a sleeping bag to channel his inner child. Victor Hugo would instruct his valet to hide his clothes, leaving him no choice but to stay inside and write. Dan Brown hangs upside down in gravity boots.
For British musician Nathan Fake, however, the cure was more practical – though no less unusual: He bought a largely forgotten synthesizer from the mid-90s.
The instrument in question, the Korg Prophecy, was a pioneering synth that gave players control over a range of effects, such as distortion and reverb. Celebrated upon its release in 1995, the three-octave keyboard cost GBP1,000 (approximately RMB15,000 in today’s money). In 2017, however, it sounds distinctly dated.
"Outhouse" by Nathan Fake
“I saw one on eBay and remembered reading about them when they first came out,” Fake recalls. “At the time, I remember thinking that it must be good, but not being able to afford one. It cost loads.”
Having stalled for four years after his third album, the British producer suddenly found new inspiration. Pushing the instrument to its technical limits, Fake decided to build a whole record around it. Providence was complete within six months. The deep, soaring sounds of a Korg Prophecy are woven conspicuously through each song.
“I’ve always liked using instruments that are quite low-end and have narrow boundaries,” he explains. “Maybe some people are into having a blank canvas, but I like the challenge of making music from something that I wouldn’t usually think of. If there were no boundaries, it might be a bit intimidating.
“But I didn’t really plan on making a whole album with [the Korg],” he admits. “It’s very outdated – a very awkward synth. At the time it was quite ground-breaking, because it allowed this physical modeling [of sound]. But I wouldn’t recommend it to anyone.
“Actually, maybe I would. I dunno. It depends,” he muses.
"The Sky was Pink" by Nathan Fake
Most producers would struggle to transform the Korg Prophecy into something as relevant and contemporary as Providence. The record sees Fake distort and manipulate the synth into undulating cacophonies of noise, which he then feeds through his distinct brand of progressive techno.
But while Providence still displays Fake’s unique musical sensibilities (he describes his sound as “strong melodies with an overall feeling that’s sort of meandering”), many critics saw the album as a significant departure. Evidently influenced by artists like Orbital and Aphex Twin, the producer sacrificed the dream-like quality of his earlier music, replacing it with something altogether more challenging.
The Skinny described the album as “more substantial, and certainly more experimental” than his previous work. Resident Advisor called his reinvented sound “more urgent and aggressive.” But when I venture to Fake that his new album’s critical success may be due, in part, to this experimentation, he seems unconvinced.
“It doesn’t sound super experimental to my ears. I think it’s got pretty straight-up melodies and chords, so I guess it depends on who’s reviewing it,” he says, admitting that he’s paid little attention to the critical reception thus far. “I suppose my previous albums have been more ‘dance floor,’ but I’ve also always been on the other side of [electronic music] too.
“I guess if you compare my first album [2006’s Drowning in a Sea of Love] to Providence, there’s probably quite a big difference,” he reflects. “But I feel that, as I’ve gone on, I’ve just got more confident. I’m also more relaxed about what my albums sound like. With Providence I didn’t think too much about style. I made those tracks really naturally, which is the opposite of what I did on my first album.
“I guess I just got better at producing as well,” he adds with a laugh.
Nathan Fake's Boiler Room set in London
Fake’s live shows have evolved in turn. Reviews of his most recent performances – especially at non-club venues, like London’s Institute for Contemporary Arts – speak of a more hypnotic, low-tempo affair. The British musician has added visuals to his show, and he’ll be accompanied in China by his “friend Dan,” who will operate them.
“People dance as well,” Fake says of his post-Providence shows. “It depends on what kind of venue it is. There are no four-four kick drums, but depending on how adventurous your audience is, and where you’re playing, you can get into it. For me, it’s really danceable.
“The show is pretty improvised in terms of track arrangements and the direction that the set takes. Then Dan just follows it with the live visuals. It’s always quite all over the place – but in a good way I hope.”
Fake promises to “play a few old tracks,” but he’s an artist who appears more concerned with progression than retrospection. This poses something of a problem for someone who suffers from writer’s block.
“Once you’ve had it, you worry more about it,” he says. “I think everyone has it – every musician or artist gets it from time to time. And I’ve always had it.
“But I have actually been making quite a lot of music at the moment, which is crazy because I have been on tour solidly since the album came out. Yesterday I made a track. And about a month ago, I made an EP’s worth of stuff. It’s been really good – really inspiring. I’m in a good place.”
And, should the creativity run dry, he can always just find a new instrument on eBay, right?
“Well, I’m mindful of the fact that I don’t want to repeat myself [on my next album] and just be like ‘oh, I’ll find another crap synth and make another album,” he jokes. “That might be a bit obvious. But if I do happen upon something new, I might have some fun with it.”
SHANGHAI: Wed May 17, 10pm-late; RMB80 before midnight, RMB100 after midnight; Dada, see event listing.
BEIJING: Thu May 18; Price TBD; Dada, see event listing.
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