Nathan’s own discography opened in 2007 with Pet Sounds: In The Key Of Dee, before pivoting in a more electronic direction via Get Familiar and Young Heartache. From the sampledelia of 2011`s Too Right, the new wave and rave of Say Arr Ee to the Robert Wyatt-influenced Love Me Oh Please Love Me, he’s mapped a deliberately peculiar path. 2015`s Rooster was Eno & Byrne`s Bush Of Ghosts given a shangaan-electro lick and clip. While Nathan’s partnership with fellow out-there pop auteur, Jesse Hackett, as Blludd Relations, staggered like a half-cut Prince.
Collaged, rhythmic alternatives. Syncopated avant-garde sambas. Off-kilter Sci-Fi jazz. Think Asha Putli in the spot at the Star Wars cantina. Arty, angular. Rich, but uncluttered. Frenetic, electric, blurring the boundaries between what is sampled, what is played. Nathan’s is a wilfully weird Pop, showcased in 2016 on his album, Loop The Loop. Wayward, but woven with hooks that come out of nowhere. Lyrical, often beautiful, solos on violin, oboe, and desiccated guitars. Songs that demonstrate a nose-thumbing playfulness, a refusal to sit still. Where there’s always the urge to interrupt a carnival beat with a burst of galloping horse hooves. Or juxtapose ambient chords with a kazoo.
In 2012 Nathan started his own label, DEEK Recordings, assuming the role of in-house producer to collaborators. The imprint`s tag-line and aesthetic, Pop, not slop! is illustrated by an ongoing play-list of the same name and further explored in a series of compilations where Nathan and friends cover and reinterpret unsung “unclassics” - from alt. country to obscure `80s European art-house scores. Bouncing between Captain Beefheart, The Pixies, Sade and Mazzy Starr. DEEK`s roster is equally eccentric, non-linear, and pop-literate.
- Heaven Is Over
- Strike A Light
- Thirty Two
- buy track
- Loving Furlong