electronic luminary Nathan Fake presents the new longplayer ‘Crystal Vision’ on his own Cambria Instruments imprint, which features collaborations with Clark and Wizard Apprentice. This is music for music’s sake – recorded without angles, agendas and themes – so Fake was free to simply continue honing his craft and express himself non-literally. Aptly titled, there’s a clarity of execution and ambition, and a peak effectiveness to the record that just sounds right. Continuing to set a personal bar higher and topping his own best, the mark of master craftsperson is everywhere, but that doesn’t mean it’s polished; There’s plenty of rawness evident, with spiky sonics keeping ears on high alert – full of endorphin-flooded rave energy.

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electronic luminary Nathan Fake presents the new longplayer ‘Crystal Vision’ on his own Cambria Instruments imprint, which features collaborations with Clark and Wizard Apprentice. This is music for music’s sake – recorded without angles, agendas and themes – so Fake was free to simply continue honing his craft and express himself non-literally. Aptly titled, there’s a clarity of execution and ambition, and a peak effectiveness to the record that just sounds right. Continuing to set a personal bar higher and topping his own best, the mark of master craftsperson is everywhere, but that doesn’t mean it’s polished; There’s plenty of rawness evident, with spiky sonics keeping ears on high alert – full of endorphin-flooded rave energy.

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The final two tracks of the Blizzards Remix EP are Irène Dresel's epic warehouse belting version of Vectra and Nathan's own live version of Torchsong which melds choppy beat juggling with gorgeously glistening synths and is fresh from his recent UK tour. These follow the release of the 90s infused bass heavy Sandstone and Afrodeutsche’s rework of Cry Me A Blizzard, which stripped the original right back to its chords and added her own achingly beautiful vocals, to create a haunting choral ambient artwork. This follows last year’s new album ‘Blizzards’, which was described by The Quietus as “his best work”, and “his best LP yet” yet by Resident Advisor.

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Nathan Fake and Wesley Matsell launch new imprint Cambria Instruments. Very Limited Pressing. "A highly expressive, lysergic trip and one of his finest productions to date. All in all, you couldn't hope for a stronger start from a new label." - Bleep One of the most consistently excellent artists within the Border Community fold, since impressing them with his simultaneously reflective, dance floor jams when just out of his teens in 2003; Nathan Fake is stepping out on his own. With his friend, fellow producer and DJ, Wesley Matsell, Fake has announced the launch of his new imprint, Cambria Instruments, with the first release set to be a split release between the pair. In some ways the title of the imprint follows Fake's interest in exploring the heritage of Britain - most notably on his 2012 record Steam Days, its tracks' titles referencing several historical areas around his native Norfolk. "Cambria is a reference to both Wesley and I," Fake explains. "He's from Wales, and Cambria is an ancient English/Latin name for Wales, so we thought that summed up where the label was coming from." Teaming up with Matsell - himself a Border Community club staple - the pair's first release on Cambria Instruments will be Fake's nocturnal groove-laden track 'Black Drift', coupled with Matsell's similarly crisp mixture of shifting percussion and submerged oscillations, 'Bismuth'. Both tracks have a similarly hi-fidelity feel to them, coupled with - as Fake puts it - "new esoteric melodies and textures previously unheard from both artists".
Details are yet to be confirmed on future releases from outside artists, but solo EPs from the co-founders can expected in the future. With Matsell's far-reaching tastes in everything from fifties electroacoustic, acid house and early Detroit, through to hardcore and rave, nineties techno and noise, the thought of him joining up with Fake's own naturally eclectically-informed mind is an exciting one indeed.


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Electronic explorer James Holden returns with a generically unconstrained new album of rave music for a parallel universe that seeks to reconnect with the feelings of hope, freedom and possibility that characterised the earliest days of dance music, coming to terms with his own musical past in the process.

In contrast to its jazz adjacent live band predecessor The Animal Spirits, Holden's trippy fourth solo artist album is more of a continuous sound collage, artfully juxtaposing audio worlds and field recordings with an anything goes approach in the style of early nineties pastoral classics like The KLF’s Chill Out and the sprawling radioscapes of Future Sound of London.

Physical formats include a colourful 12 page booklet of original illustrations by Jorge Velez (Professor Genius).

Tracklisting:
1. You Are In A Clearing
2. Contains Multitudes
3. Common Land
4. Trust Your Feet
5. The Missing Key
6. In The End You’ll Know
7. Continuous Revolution
8. Four Ways Down The Valley
9. Worlds Collide Mountains Form
10. The Answer Is Yes
11. Infinite Fadeout
12. You Can Never Go Back

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The latest addition to the James Holden archive is an album of solo synth work originally written to accompany the critically-acclaimed documentary ‘A Cambodian Spring’: fourteen tracks of pulsing melancholy, foreboding drone and even the occasional burst of beatless trance in the form of the uplifting arpeggios of surefire album highlight ‘Solidarity Theme’. Picking up where his classic 2013 album ‘The Inheritors’ left off (and giving ‘Self-Playing Schmaltz’ a new cinematic airing) Holden’s debut soundtrack project combines the sound palette of his beloved Prophet 600 with a cranky old Hammond organ to showcase the full breadth of his musical tastes across the epic documentary format. The LP includes digital download code and sleevenotes by ‘Imaginary Cities’ author Darran Anderson.

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Another handy 12” of DJ tools, de- and re-constructed from the raw materials of James Holden’s ‘The Inheritors’ album and thoroughly road-tested in his own DJ sets. This time it is the turn of trippy instrumental album interlude ‘The Illuminations’. In its ‘12” Version’ club incarnation, Holden’s mystical cascading arpeggios are juxtaposed with a skittering Detroitian thump to cater for a multitude of bewilderment-inducing dancefloor moments the world over. The ‘Drumsolo’ strips things back to functional old school techno basics as we get to eavesdrop on Holden jamming with his modified DR-110 drum machine. Finally, the extended ‘Arpsolo’ draws out the melodies of the original into a dreamy Boards Of Canada-esque bonus indulgence.



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‘Trans Forest Alignment’ is taken from Abbott’s critically acclaimed debut album, ‘Holkham Drones’. A remix from DFA’s synth overlord Gavin Russom takes the mystical, ceremonial undertones of the original to the next level, layering eerie synths over a proto-kick drumcircle to epic effect. New recruits to Kieran Hebden’s Text label, RocketNumberNine fuse live jazz drums and spooky, evocative melody lines to give a surprising
UK garage flavour. Also includes previously unreleased Luke Abbott bolshy club growler ‘A Caucus Race’.


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