DEGREELESSNESS feat. Prurient / Now We Know
Nathan Fake unveils one of 2016’s most unexpected collaborations in DEGREELESSNESS feat. Prurient, backed with a more typical sort of woozy, wood-cut stepper called Now We Know.
With DEGREELESSNESS Fake takes a sharp left right turn deep into undulating dub noise threaded with ghostly techno pulses and Dominick Fernow a.k.a. Prurient’s unearthly mutterings. The results aren’t a million miles from Fernow’s Vatican Shadow output, but differ in the fact that he’s hardly, if ever, used his own vocals in that context. And, in that sense it effectively lands somewhere between VS and Prurient’s still sore dancefloor incursions such as Through The Window or his hook-ups with Ugandan Methods for Downwards.
On the other hand, you’ll find a more familiar Nathan Fake sound in the glancing, wooden swing and feathered chords of Now We Know, which are much more compatible with your Four Tet or Gold Panda records.
Strange but true.
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Nathan Fake unveils one of 2016’s most unexpected collaborations in DEGREELESSNESS feat. Prurient, backed with a more typical sort of woozy, wood-cut stepper called Now We Know.
With DEGREELESSNESS Fake takes a sharp left right turn deep into undulating dub noise threaded with ghostly techno pulses and Dominick Fernow a.k.a. Prurient’s unearthly mutterings. The results aren’t a million miles from Fernow’s Vatican Shadow output, but differ in the fact that he’s hardly, if ever, used his own vocals in that context. And, in that sense it effectively lands somewhere between VS and Prurient’s still sore dancefloor incursions such as Through The Window or his hook-ups with Ugandan Methods for Downwards.
On the other hand, you’ll find a more familiar Nathan Fake sound in the glancing, wooden swing and feathered chords of Now We Know, which are much more compatible with your Four Tet or Gold Panda records.
Strange but true.
Nathan Fake unveils one of 2016’s most unexpected collaborations in DEGREELESSNESS feat. Prurient, backed with a more typical sort of woozy, wood-cut stepper called Now We Know.
With DEGREELESSNESS Fake takes a sharp left right turn deep into undulating dub noise threaded with ghostly techno pulses and Dominick Fernow a.k.a. Prurient’s unearthly mutterings. The results aren’t a million miles from Fernow’s Vatican Shadow output, but differ in the fact that he’s hardly, if ever, used his own vocals in that context. And, in that sense it effectively lands somewhere between VS and Prurient’s still sore dancefloor incursions such as Through The Window or his hook-ups with Ugandan Methods for Downwards.
On the other hand, you’ll find a more familiar Nathan Fake sound in the glancing, wooden swing and feathered chords of Now We Know, which are much more compatible with your Four Tet or Gold Panda records.
Strange but true.
Nathan Fake unveils one of 2016’s most unexpected collaborations in DEGREELESSNESS feat. Prurient, backed with a more typical sort of woozy, wood-cut stepper called Now We Know.
With DEGREELESSNESS Fake takes a sharp left right turn deep into undulating dub noise threaded with ghostly techno pulses and Dominick Fernow a.k.a. Prurient’s unearthly mutterings. The results aren’t a million miles from Fernow’s Vatican Shadow output, but differ in the fact that he’s hardly, if ever, used his own vocals in that context. And, in that sense it effectively lands somewhere between VS and Prurient’s still sore dancefloor incursions such as Through The Window or his hook-ups with Ugandan Methods for Downwards.
On the other hand, you’ll find a more familiar Nathan Fake sound in the glancing, wooden swing and feathered chords of Now We Know, which are much more compatible with your Four Tet or Gold Panda records.
Strange but true.
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Nathan Fake unveils one of 2016’s most unexpected collaborations in DEGREELESSNESS feat. Prurient, backed with a more typical sort of woozy, wood-cut stepper called Now We Know.
With DEGREELESSNESS Fake takes a sharp left right turn deep into undulating dub noise threaded with ghostly techno pulses and Dominick Fernow a.k.a. Prurient’s unearthly mutterings. The results aren’t a million miles from Fernow’s Vatican Shadow output, but differ in the fact that he’s hardly, if ever, used his own vocals in that context. And, in that sense it effectively lands somewhere between VS and Prurient’s still sore dancefloor incursions such as Through The Window or his hook-ups with Ugandan Methods for Downwards.
On the other hand, you’ll find a more familiar Nathan Fake sound in the glancing, wooden swing and feathered chords of Now We Know, which are much more compatible with your Four Tet or Gold Panda records.
Strange but true.