Following up his very good LP, Providence, from earlier this year, UK producer Nathan Fake is back with a new song and two different versions of album standout "DEGREELESSNESS (ft. Prurient)."
"Bosky" begins with stuttering and interlocking mid- and low-range synth parts, setting the groove before a slinkier, shimmery melody and punchy bass drum enter around a minute in. Such foregrounded and playful synth work was featured throughout Providence, but some of the percussion patterns (notably a regular rimshot on the backbeat) are a bit more straightforward here, at least relative to much of that album. Nowhere on Providence was it so easy to two-step.
Overmono's remix of "DEGREELESSNESS" substitutes the delay effect-ridden, rollicking bass drums of the original for a more traditional four-on-the-floor feel, while the original synth parts bubble up on top of each other. The most dramatic drop occurs around three minutes in, when a creepy, slinky slap bass/harpsichord hybrid takes over. The last minute of the track offers a gentle, beat-less comedown.
The "Backyard Interpretation" of the same song by Huerco S. hones in on a somewhat atonal synth cloud, stretching it into a foggy backdrop for a relaxing hand drum beat (it could be tabla or mridangam). While there are flickers of the original (and already indecipherable) Prurient vocal throughout this version, some of the fog dissipates in the last two minutes, and the vocal fragments are given more light. It's a fascinating interpretation by a unique voice in contemporary electronic music.
The fact that this EP is labelled "Part I" suggests even more to come — hopefully involving Raphaelle Standell-Preston, whose feature spot helped make "RVK" was another Providence highlight.
(Ninja Tune)"Bosky" begins with stuttering and interlocking mid- and low-range synth parts, setting the groove before a slinkier, shimmery melody and punchy bass drum enter around a minute in. Such foregrounded and playful synth work was featured throughout Providence, but some of the percussion patterns (notably a regular rimshot on the backbeat) are a bit more straightforward here, at least relative to much of that album. Nowhere on Providence was it so easy to two-step.
Overmono's remix of "DEGREELESSNESS" substitutes the delay effect-ridden, rollicking bass drums of the original for a more traditional four-on-the-floor feel, while the original synth parts bubble up on top of each other. The most dramatic drop occurs around three minutes in, when a creepy, slinky slap bass/harpsichord hybrid takes over. The last minute of the track offers a gentle, beat-less comedown.
The "Backyard Interpretation" of the same song by Huerco S. hones in on a somewhat atonal synth cloud, stretching it into a foggy backdrop for a relaxing hand drum beat (it could be tabla or mridangam). While there are flickers of the original (and already indecipherable) Prurient vocal throughout this version, some of the fog dissipates in the last two minutes, and the vocal fragments are given more light. It's a fascinating interpretation by a unique voice in contemporary electronic music.
The fact that this EP is labelled "Part I" suggests even more to come — hopefully involving Raphaelle Standell-Preston, whose feature spot helped make "RVK" was another Providence highlight.
