Border Community's always been kind of reticent and distant as a label, emphasizing quality control of its midnight bliss brand of electronica and off-kilt analogue techno. Still, over the last couple years you'd be excused if you imagined Holden and co. were about to shutter up the shop. As the label approaches its tenth anniversary, its releases have slowed from drip to mere trickle. Now, it seems like if we see one LP from the label we feel, well, relieved that there's still life amongst Holden and his longstanding crew.
So it's perhaps with a sense of occasion that we receive the third LP from one of the label's earliest wunderkinds, Norfolk's Nathan Fake. From seminal releases in BC's infancy like "Outhouse" and "The Sky Was Pink"—not to mention Holden's own epic pseudo trance remix of the latter—Fake's been at the heart of this close collective's heady, ultra melodic take on electronic music. It was an approach that looked fondly back to the British techno and ambient house of the early to mid-'90s, to space-getaway acts like the Orb and Orbital, just given a little psychedelic tweaking for modernity. Fake's 2005 debut, Drowning in a Sea of Love, stands with Luke Abbott's Holkham Drones as the label's high-water mark, LP-wise. Following a somewhat dispiriting second outing, which found Fake grating against his expertly crafted, song-oriented take on electronica for a more manic and sonically hectic assault, with Steam Days, Fake returns to the fuzzy melodies and subtle, static-laced gleam that marked not only much of his best early work but also his better remixes.