Physical Release date: 26th June 2020
There’s a fresh new undercurrent to his fourth LP, Everything Will Grow Again, the first single of which (Carrie) was released on 17 April. The album sees Fakear fusing styles with more muscle than before, ushering in hints of Mount Kimbie, Floating Points and Jon Hopkins and embracing accidental synth sound effects.
It’s been six years since the worldwide success of “La Lune Rousse”, his first oriental-inspired EPs released by Nowadays Records, and the halting, vibrant vocals that catapulted Fakear onto the scene, with the musician now finding himself keeping on-stage company with heavyweights such as M.I.A. and Bonobo.
Everything Will Grow Again is a more candid, sincere exploration of harmonisation this time, with a sturdier technical weave underpinning the whole. The background murmurs of Jupiter-8 synths and a Matrix Brute recur over the album’s eleven tracks. Fakear’s long-standing communion with nature, a source of inspiration to him from the very start, are combined with his trademark acoustic chords on tracks such as “Together” and “Sekoia”. An entire section of the album has a decidedly club-inspired feel (“Structurized”), opening out into a series of analogue waves of sound reminiscent of Mount Kimbie and Moderat (“Linked”).
The installation he designed for his live performances combines LED lighting, machines and totems,
and marks a shift away from earlier gig formats, where he had surrounded himself with musicians. In doing so, Fakear returns to a clubbier, solitary style that illustrates the crossroads feel of Everything Will Grow Again. As the title hints, the album is evocative of an almost post-apocalyptic hope, a glimmer of faith in the idea that despite suffering and circumstances, everything renews, evolves and returns to balance.
In Arabic, the word “fakir” takes its roots in philosophy and wisdom. Here in Fakear’s world,
time has ripened him, leaving him with a sense of not wanting to “follow trends”, and borders stretch to encompass uncharted electronic territories, with this fourth album serving as a profession of faith.