Review: Just like he did in 2012 with the Diversions 1994-1996 album, Lee Gamble introduces an entirely fresh world of sound upon us, this time for Hyperdub with Flush Real Pharynx 2019-2021. Written over the course of three years, Flush Real Pharynx explores synth and modular mechanics as much as it does neo-classical Caretaker themes ("Obsession") to sucrose vocals ("Naja") or Blade Runner field recordings in "Many Gods, Many Angels" and "BMW Shuanghuan X5". With experimental ditch rave techno to be found in "Envenom" next to toy-tonal melody tracks in "Folding", there's a story to be told in Flush Real Pharynx 2019-2021, and its a deep dive through future sound design, lowly street poetics and suggestive AI theories. If oil is the lubricant of capital and data its foodsource, then smoothness is its aesthetic.
Review: Lee Gamble and Hyperdub bring the Flush Real Pharynx 2019-2021 album cycle to an end with A Million Pieces Of You - written in a time when the subjective experience of overload came to a halt, giving way to an overbearing sense of loss, burnout and a desperate need for hope. An expansively deep journey through unimaginable sound design, AI theory and transhumanism concepts - to say the least, Gamble reflects on mass media and popular culture through vocal cuts and samples that drift through deeper drones, chords and textures cushioned by synthetic white noise, cinematic field recordings and disparate atmospherics. A series of tracks that certainly paint the imagination with landscapes and scenes of a future film-noir concept, Lee Gamble goes the distance to reflect once more upon the feelings of a modern world in future times.
Review: Over the last five years, Lee Gamble has surely solidified his name as top dog among the techno deviants, and each time one of his new releases drops onto our shelves ours ears prick up instantly. Having made a name for himself on PAN, it's now time to curate his own UIQ label, and "004" is exactly the sort of tune to catch the listener's attention: an unsteady techno beat that mangles it way through rough, distorted waters. In the same way, "For Infernomatics" challenges the status quo, and renders the techno experience a much more wide-eyed, wholesome experience that branches off into different territories. "Kinematics" develops this 3D techno feel further thanks to the help of a sea of washed-out sonics and brittle beats, while "Cnull" heads towards the genreless, the only thing placing it anywhere near dance music being its jittery, improvisational kick-hi-hat combo. Excellent.