Album Review: Fakear – 'All Glows' (Counter Records)

Album Review: Fakear – 'All Glows' The young French DJ opens the door to a mystical new world with All Glows. Fakear certainly has a talent for quality production.
Posted: 8 May 2018 Words: Caitlin Clark

The young French DJ opens the door to a mystical new world with All Glows.

Fakear certainly has a talent for quality production. Already, he has firmly established himself as a front-runner of the French EDM scene; his 2016 album Animal is certified gold, and he’s supported a host of names including M.I.A, Bonobo and label mate ODESZA. His new album All Glows is a stunning display of the producer’s careful craftsmanship and the first stroke on the canvas of his inevitably illustrious career. The second of 16 tracks, ‘Something Wonderful’ features ethereal vocalist Ana Zimmer whose wavy, meandering tone cuts through chiming chords and driving percussive beats. A rich example of electronic-pop, ‘Something Wonderful’ is deserving of an excellent sound system and made waves amongst French fans at his recent live performance at KOKO, London. The Frenchman is known for blending diverse samples into his music, and no more so than in his collaborative track with European classmates Polo & Pan, Clément Bazin and Noraa. ‘Lost In Time’ takes to you peaceful Asian monasteries, plunges you into the abyss of the deep ocean, and thrusts you into the sweaty crowds of French electronic clubs. ‘Lost Colours’ and ‘Chakra’ feel somewhat biblical in their downtempo melodies. Sounds of thundering rain, wailing pan pipes and progressive percussive beats are all-encompassing and immersive; you could well be sat under a tree in a tropical rainforest after the first wave of monsoon downpours or reaching the top of a steep climb through isolated mountain ranges. The sweet vocals of Eves Karydas bring the album back down to earth. ‘One Chance’ has a lively breakdown (not dissimilar to the likes of early Kygo) with an atmospheric production fit for the summer festival stage. ‘Consciousness’, ‘Next Life’ are fluid, their melodies melt and mould into one another, giving the album a natural flow. The occasional soft twangs of an electric guitar add another dimension to All Glows, particularly in ‘Tokara’. Shut your eyes and you can almost smell the sea, feel the warm sand in between your shoes, and taste the beads of cool sweat falling from your upper lip. Soft brass tones in ‘Sacred Feminine’ and the breezy female vocals of ‘Sea Song’ are further examples of Fakear’s ability to produce stylish and graceful songs that fall effortlessly into one another. His decision to feature standout track ‘Lou’ towards the close of the album certainly feels deliberate. Under KOKO’s gargantuan disco ball, soaring electronic guitar riffs transported the crowd to a far-off land, filled with hope, freedom, and light. It suffices to say; All Glows really does glow. Rippling bass, luminous lyrics and spiralling synths lift each track to spiritual glory. Fakear’s true ability though is in his production. Each track blends seamlessly into the other, making it very easy for us to be thrust into a mystical, other-worldly musical experience.

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